Subculture Radio Show Ep #113

David Griffiths, Harley Woods and Kyle McGrath are back with a new episode of the Subculture Radio Show.

This time around they interview Ratio Strain, Verticoli, Lorin Clarke (the director of And Also John Clarke) and Jon Avnet (the director of The Last Rodeo).

And review Amaranthe and Sabaton's Melbourne show and films including Primitive War, The Roses and Enzo.

Episode Transcript

Speaker 1 (00:16):
Hello, and welcome to a new episode of Subculture. Yes,
I have actually been in hospital, but I'm back on
deck now and that's why we've got a brand new
episode and to join us in this newness, we actually
have Harley with us right now as well. Welcome to
the program, Harley.

Speaker 2 (00:34):
Welcome back to the Land of the Living day.

Speaker 1 (00:37):
Yeah, definitely, man, I've got to say, it is good
to be back. We have had had to have a
couple of episodes of repeats, but we are back with
newness today. We've got a pretty big shot. I guess
Halle you had a little bit of a break as well,
because you didn't have to put together a show here
every week.

Speaker 2 (00:58):
Yeah, I was getting ready to do it. That's I
don't want to say I slacked off, but I guess
it was good to have a mild break. I got
some other stuff out of the way and then realize
how much sort of cleaning and resorting I need to
do just in my everyday life. And it's like, oh

(01:18):
my god, Well.

Speaker 1 (01:21):
We have got a big show tonight. We're actually going
to take a look at the emirand a Sabotan concert
that happened in Melbourne just the other night, I went
right around Australia and the boys from Sabatine were very
very happy with the Australian tour and yeah, if you
want to hear more about their new album and also

(01:41):
a little bit talking about the tour as well, you
might want to tune into Subculture after Dark, our heavy
metal podcast as well, because we actually caught up with
Yokum from sabatan to chat a little bit about that.
The three of us all went along to the premiere
of The Primitive War. That was a bit of an adventure.
It wasn't Harley, it was.

Speaker 2 (02:03):
It was actually a kind of a spur of the
moment thing, wasn't it. But yeah, it was really good.
But you'll hear us talk about that a bit later
in the show.

Speaker 1 (02:11):
And you guys didn't actually know, but I was sitting
all the way through that movie thinking why is my
leg hurting? And that was actually the spark of me
having to go to hospital just a few days later.
We're going to chat to a US artist as well,
called Ratio Strain. She's an electronic artist and she's got

(02:32):
a brand new album out. We're actually going to chat
to her on the show today about that as well.
Kyle and I are going to take a look at
the brand new Olivia Coleman Bennett Cumberbatch movie The Roses.
I'm going to chat to Lauren Clark.

Speaker 3 (02:45):
Now.

Speaker 1 (02:45):
Lauren Clark is a filmmaker. She's a screenwriter, producer and director.
But her father is or was Australian comedian John Clark,
who sadly passed away a few years ago. She's actually
just done a documentary about her father's life called but
Also John Clark. So we're going to chat to Lauren
a little bit about that movie. We're going to chat

(03:07):
to director John Avnette about his new film The Last
Ray Dao, which is on streaming platforms right now. And Harley,
we're going to catch up over the next couple of
weeks on our myth films that we all went and saw.
You saw a movie called Enzo, and you're going to
review that a little bit later for.

Speaker 2 (03:23):
Us, aren't you.

Speaker 3 (03:24):
Yeah?

Speaker 2 (03:25):
Nice coming of age French movie. I seem to have
seen a lot of those in my time. Do you
remember back in the days of watching SBS and then
world movies came out. I was addicted to those channels,
just watching foreign films all the times as a kid,
so to me, it kind of took me right back

(03:46):
to being a teenager and discovering all these new and
wonderful films. And it was interesting because there's an actress
in this film playing Enzo's mother who was in one
of the first French sort of teen coming of age
story movies that I saw, So it was a nice
full circle moment for me.

Speaker 1 (04:06):
Awesome. Well, we are going to kick off the show
today because for people who live in the state, you
might not realize We've got a week coming up here
in the next few weeks, right at the end of
the month where we have Grand Final Eve Public Holiday.
Now that's become a little bit of a week here
in Melbourne where a lot of people take the entire
week off and because of that, a lot of Australian

(04:27):
bands hold gigs in Melbourne during that week. Now we've
had three big bands announced that they're going to do
shows during that week over the last week. So we're
going to kick off today's show with a triple play
of music from some of those bands. British India have
announced that they're going to do a show that week,
Kingswood have announced that they're going to do a show

(04:49):
and so have the Living End. So we're going to
kick off today with a triple play featuring British India,
Kingswood and The Living End.

Speaker 4 (05:09):
If you're reading this thing that mister, I what was
the last thing that show?

Speaker 5 (05:25):
If not, its over, But I still have a place
to go the word else, But I will be what

(05:58):
came fove myself when.

Speaker 6 (06:00):
You do relive mony? Oh God, have me watch.

Speaker 5 (06:14):
Know how that they said you can help love the bird?

Speaker 7 (06:22):
That's exactly where.

Speaker 8 (06:28):
And I can't bad.

Speaker 7 (06:36):
And I can? She want.

Speaker 9 (07:18):
Follow she a falling up was following the loss the
dona What has coppen arounds.

Speaker 3 (08:11):
The b.

Speaker 8 (09:23):
Man?

Speaker 3 (09:23):
Go?

Speaker 10 (09:24):
You got your hooks in me and I'm sitting the
high off the feeling.

Speaker 7 (09:29):
I keep you up there.

Speaker 10 (09:31):
Holding all feel the us shot smastly and I'm not
being a fine another speedcus it dropspeed in a gold.

Speaker 11 (09:44):
No go go go no.

Speaker 10 (10:00):
I think about it all the time, don't be Why
is homing closer?

Speaker 12 (10:06):
Sup? Why he'll try exposure?

Speaker 10 (10:10):
Oh think about it all the time, don't do Why
just homing closer?

Speaker 12 (10:18):
So why ranking composer scratch and means.

Speaker 10 (10:24):
Into the mill Street Because we're making a sign of
that we are deep the shown of good. I until
you beat deep breathed in, breath out breath, don't stop
until this.

Speaker 13 (10:39):
Is the left and we want to collide.

Speaker 3 (10:42):
For Oh no.

Speaker 10 (10:46):
Oh, think about it all the time, don't do Why
holly closer?

Speaker 12 (10:54):
So why he'll try exposure?

Speaker 10 (11:00):
I think about it all time, don't be Why just
hold the clsure so by ringin composer.

Speaker 7 (11:25):
Oh no no.

Speaker 12 (11:34):
Oh, I think about it all time. Don't Why just
hold me closer?

Speaker 14 (11:42):
So?

Speaker 10 (11:42):
What can drives poser? Oh think about it all time?
Don't Why holding culture? So why ring composer? Why just
holding stan compulsion?

Speaker 12 (12:04):
Why the holy closer? So I ma gain compulsion?

Speaker 7 (12:11):
All out of the son? Why not.

Speaker 9 (12:18):
All out on your fund fine nose.

Speaker 7 (12:39):
Looks of cold kill.

Speaker 8 (12:42):
I didn't trouble right now, time stands still your round.

Speaker 15 (12:52):
I gave you all my time.

Speaker 8 (12:56):
You give me of your plans?

Speaker 10 (12:59):
Can just coming around?

Speaker 16 (13:02):
Say good bye?

Speaker 4 (13:06):
Now here we stand the moti ask stas had out.

Speaker 8 (13:13):
All the mothers.

Speaker 6 (13:14):
It's a massive tone class.

Speaker 12 (13:16):
But since then in the second.

Speaker 7 (13:21):
All the funds your list promised me your soul.

Speaker 8 (13:45):
Then that cold no one outs?

Speaker 6 (13:55):
You wish yourself in wealth mistrusted.

Speaker 7 (13:59):
Nicks esays, it's.

Speaker 6 (14:00):
Not you was us without something at school s, So love.

Speaker 7 (14:09):
A sound fins, a sound.

Speaker 6 (14:20):
Nose Jim said by up Man, just very out.

Speaker 17 (14:29):
Her side by nose by no.

Speaker 6 (15:02):
Here from why noises?

Speaker 18 (15:09):
I'm here from.

Speaker 7 (15:12):
Noise?

Speaker 3 (15:15):
What okay?

Speaker 1 (15:47):
So this was a concept that I was looking forward
to for a long long time, and even a stint
in hospital was not going to stop me from being
able to get there because I have been waiting to
see Amaranth and Sabatan in concert for a long long time.
I've been an absolutely massive fan of Sabotan over the

(16:07):
last ten fifteen years, and of course, as many people
would know, they haven't really come to Australia much outside
of festivals over the years, so there was kind of
really looking forward to that. But Amaranth took to the
stage first, and there was a little bit of a
rush in Melbourne, I've got to say, because it said

(16:28):
on our tickets that they were taking to the stage
at eight o'clock and they ended up jumping on stage
at seven fifty. So there was a lot of people
out there that missed fearless, but luckily we were all
seated before the second song, which of course was viral,
the track that a lot of people here in Australia

(16:48):
fell in love with Amaranth. For the other tracks, I've
got to say that they were absolutely amazing during their
set were Damnation, Flame, The Nexus, Drop Dead, Cynical and
of course Archangel. And I think one thing that you
kind of learn from seeing them live is just how
amazing the three vocalists work together. They also seem a

(17:13):
little bit more brutal live as well. I don't know,
maybe it's just because of the way that I've been
listening to them over the years, but to be able
to see them perform songs like Archangel live was just
absolutely brilliant. They did an amazing job and I can't
wait to be able to go back and see them again.
Hopefully next time they come they'll actually be headlining, because

(17:35):
it would be amazing to be able to sit down
and watch them do a full set, because they kind
of left us all wanting a little bit more now.
Straight after that came the moment that everybody was looking
forward to Sabotan coming out onto the stage in Melbourne,
and it was very very obvious that the band were

(17:58):
kind of stunned by how many people people there were
at the actual show. To be honest, they kind of
were in awe for most of the night. And if
you've already listened to the interview that I did with Yoakum,
which is up on our website and also on Subculture
after Dark, you will have heard that he said that

(18:20):
they meant for this tour to be a best of
kind of tour because they're hoping to come back to
Australia and play more off Legends early next year. Now.
Because of that, they actually didn't do very many tracks
off Legends at all. They did Hordes of Khan and

(18:41):
that was about it. I was kind of wondering whether
or not they might have done Templars as well, because
that's been out long enough for us to all learn
the lyrics, but they didn't. But Sabatan definitely did not disappoint.
You know how there's some bands that you watch on
YouTube and places like that, and then you see them
live like face to face for you, and they're not

(19:04):
as good or there's just something missing. That wasn't the
case here. They did have a pretty basic set as
like around them. Of course, we've all seen the YouTube
footage of like of different times when the band have
had tanks and stuff on stage and Yoakum's gone backstage
and put a gas mask and everything on for when

(19:25):
they do the Attack of the dead Men, but that
wasn't the case here. There was basically just a big
backdrop which was an emu driving a tank, and they
didn't need anymore because Sabatan basically let their music do
all of the talking. They did the Last Stand and
the Red baron back to back, and that really just

(19:46):
shows the hype that they can get from an audience.
Those tracks are high energy tracks, and the audience were
jumping in straight away. We're getting straight into them. There
was a lot of singing along. A lot of people
know their tracks and that huge fans of the band,
so therefore that added to the atmosphere as well. Tracks
like Bismarck that happened on where people just really got

(20:11):
into the track. The Soldier of Heaven was another one.
People were chanting all the way through that as well.
The Attack of the dead Men, which we mentioned before,
just shows just how bring it this band can be.
There's a real atmosphere to that track, and they really
delivered that live as well. They toned it down. They
got after some of the tracks like Hordes of Cahn

(20:33):
and Soldier of Heaven that had people up on their feet.
The attack of the dead Men meant that they could
they had to bring it down, and they did that
remarkably well. In fact, one of the best tracks of
the night live was actually Christmas Truth, one of their
slowest songs. But as they said, maybe we didn't expect
to see Christmas Truth being performed because it's in September,

(20:56):
but they wanted to do a best of and they
said that's one of their best traps, and the audience
lapped it up. People were singing along, they were waving
their torches and just really really enjoying being able to
sing along. One of the things that we learned on
the night that Sabatane do as well do it so
well is Yokum will go off the stage and let

(21:18):
the guitarists have their bit of time to shine as well.
So in Christmas Truth, where there's some long guitar solos,
Yokum would actually go off the stage and let the
guitarists shine there as well. Great to see them connecting
with a local audience. They did Cliffs of Gallipoli which
of course is a track that means a lot to

(21:39):
a lot of Australians. And then, as I said, we
didn't expect that they would do Christmas. Truth, we certainly
didn't expect that they would do Premo Victoria and Swedish Pagans,
which they did do. It was great to see that
as a band who were touring with a new album
out or about to come out, that they instead went
back and did some of the earliest I mean, I

(22:00):
see a lot of bands who say, oh, look we're
going to do some older stuff, and they really only
do stuff from like five six years ago if they
delve into the back catalog. But with Sabatan, they went
right back and yeah, did songs like Premo Victoria and
Swedish Pagans and to Helen back. So look, it was
really great that they went and did those tracks. You
certainly didn't leave disappointed. Of course, there's always going to

(22:22):
be tracks that you wanted to see live and they
didn't do. I would love to have seen them do
Devil Dogs or eighty Second all the way they didn't
do them, but I certainly wasn't disappointed. This was an
absolutely amazing show. Yoakam's vocals were top notch, The band
were working together brilliantly well, and I have to say
this is one of the best concerts I've been to

(22:43):
in a long long time. You had two bands on
the night that were just top notch. Emmerants were flying,
Sabotan were flying. It was just an amazing show that
I'm going to remember for a long long time and
I can't wait for them to come back very soon.

Speaker 6 (23:09):
Silence, I remember the silence.

Speaker 8 (23:15):
On a cold winter day.

Speaker 19 (23:19):
Not there many monsoons of that's of heel.

Speaker 12 (23:23):
And we were used to the violence.

Speaker 19 (23:27):
They all candles went silent, and the snow fell, voices
silent to me from no Man's land.

Speaker 7 (23:40):
To we are, we are, we are, we.

Speaker 20 (23:43):
Are friends, And to day and our brothers name when
our friends all into piecing all that Netherlands to day
and another sweet drinking unife.

Speaker 7 (23:59):
Now as Sassurini Eisodi started, white he cat from the
turn Chess, we see a holiday nights Polagon, stay till
it stop, work, store plates.

Speaker 8 (24:11):
Christmas sing, the turns of Christmas song, the.

Speaker 20 (24:14):
Fun mindless, and we don't done the sads. We wouldn't
mind the gonna says.

Speaker 6 (24:32):
Even for a doing the week's face A fairs.

Speaker 7 (24:37):
We were soldiers killing, O my should days?

Speaker 15 (24:47):
What are you doing this time?

Speaker 7 (24:49):
May times we may the friends.

Speaker 20 (24:54):
Even we We want friends to the dam and our brothers.
So nights with our friends. Amos went to p s
a lot that nevers to the dame and a brother,
sweet dream?

Speaker 21 (25:11):
Can you nice?

Speaker 7 (25:12):
No Christmas sas night and the.

Speaker 8 (25:14):
Snow church that a white g candl from.

Speaker 7 (25:17):
The church sets be seen. The holy nice fall.

Speaker 15 (25:21):
The state to that stup snow light.

Speaker 7 (25:24):
Saw Christmas seeing the church sets. So Christmas song some
from home.

Speaker 14 (26:50):
It was.

Speaker 7 (26:52):
Six to the.

Speaker 20 (26:56):
Day was still nicely offense smallow mon as.

Speaker 15 (27:01):
Can see no more?

Speaker 14 (27:02):
That never ends?

Speaker 20 (27:04):
To say, o brothers, sweet dream can unite? No Christmas
has the ride and the soldiers there no.

Speaker 7 (27:11):
Whit Christmas on the flane.

Speaker 20 (27:13):
We walk among the friends. We don't think about tomorrow.
The placel will commence when we say rat to Christmas.
We thought about of Fenstal song never made it offen
the placel and commission.

Speaker 18 (29:58):
Hello every body, welcome back to the show. I'm your
host Kyle, and at the moment I'm joined by David
and Harley. Hello, guys, Hey, hello, and well we are
looking at a special film that we went to go see,
Primitive War. It is kind of a combination of genres,

(30:21):
part war movie, part dinosaur flick, and well, like like
every Vietnam war movie, it needs to start with the
song Fortunate Sun in there somewhere by Credence and well,
I mean, everybody knows about the song, but of course
isn't there who knows that? Everybody knows that? There's also

(30:43):
a missing a missing verse from most of the radio
versions of the show of the of the song, which
is based around dinosaurs and how terrible they can be.
So the movie is about Vulture Squad and they are
exact exactly the kind of recon unit which is needed

(31:03):
to Vietnam. They're led by Baker, who's played by Ryan Quanton.
It's a well oiled team of miscreants who they get
in they eliminate and extract from the toughest patches of
nineteen sixty eight Viet Cong territory. Now having just performed

(31:23):
yet another successful operation and hoping to get some much
needed R and R, they're instead received by Colonel Jericho
played here by Jeremy Piven with new orders. They are
to recover a missing platoon of green Berets and what
were they searching for? Well, that's classified now. What the

(31:47):
Vulture Squad find, however, are gigantic footprints. Now it seems impossible,
but deep in the jungle, dinosaurs roam the earth once more.
American soldiers may not belong in Vietnam, but to do
these ferocious beasts and coming in contact with a research
scientist named Sophia played by Tricia Helfer Baker and Vulture

(32:10):
Squad are left with a choice. They can escape with
their lives, or they can push on into the heart
of darkness and discover the cause of this phenomena and
hopefully put a stop to it. Now, director Luke Spark,
He's made a name for himself directing some quite ambitious
special effects driven stories on a local Australian level. He's

(32:35):
his franchise the Occupation movies Occupation and Occupation Brainfall. Now
they're still turning heads and himself working in costume and
art departments on various historical military productions in the past,
such as The Pacific before becoming a filmmaker in his

(32:59):
own rights. This field is like a movie that kind
of combines all of the things that he's learned over
the years of a filmmaker. So adapting Ethan Pettis's debut
sci fi horror novel Primitive War Opiate Undertow seems like

(33:20):
a perfect match for lux Park, so well diving into it, David,
what did you think of a Primitive War, because I
know you're quite a fan of lux Park films.

Speaker 3 (33:31):
Yeah.

Speaker 1 (33:31):
Look, I would go as far to say that Luke
Spark is one of the most important filmmakers that we've
produced here in Australia over the last few years. I
just find him as a director writer, he's one of
those people that we'll just go out and do a project.
Of course, like he's first film, his first feature, Red
Billibong to Me was just a great kind of Aussie

(33:54):
horror film, and from there he went into doing the
occupation movies. He did Bring Him to Me, which was
a really really intense crime thriller Scurry Again, which was
kind of a COVID film, but showed that you could
shoot a genre flick using just mainly two people for
the entire film. And now we have Primitive War, which

(34:15):
is I think probably the best film that he's made
so far in his career. I don't know, there's so
much to like about this film. I mean, the general
premise of dinosaurs during the Vietnam War sounds absolutely ridiculous,
and you think, how is this going to work? Is
it going to end up being one of these like

(34:38):
crazy d or E grade movies that end up on
tub or somewhere like that, where it's like a giant
raccoon chasing people in a town or something like that.
But this film works on so many different levels. I mean,
first of all, it's a it's got the kind of
feeling of a movie like Platoon meets Predator, but it

(35:02):
all works. I mean, when I was watching the film,
I kept on thinking of Predator, which, as some people say,
is the film.

Speaker 6 (35:11):
Chopper.

Speaker 1 (35:12):
Yeah, But like this film takes a slice of Australian
history and kind of turns it upside down by by
bringing in dinosaurs. And even the fact that when you
see the first dinosaur, you think, how are they going
to explain this like that, There's got to be an
explanation to this. It can't just be oh, they've been
there for generations and no one's noticed them. But even

(35:35):
that seems to come around in a really really perfect
way of no, this is how those these dinosaurs actually
got there. So you've kind of got this weird movie
that kind of works as a tour of Judy esque
Vietnam War film but also brings in a dinosaur element
that I would argue was better than the last Jurassic World.

(35:59):
And I don't know, there's it's just so much to
like about this film. And then you've got a bunch
of actors who you wouldn't necessarily say a grade Australian actors,
but they do a great job in this and it's
amazing to be able to see people like Ryan Conson
and people like that get to lead a film which
is being eagerly anticipated in America. We should also point

(36:21):
out that this film, when it's trailer went online, had
millions and millions and millions of views in the first
couple of days. Like this is one genuine Aussie movie
that is getting a big release in America and Americans
are excited about it.

Speaker 18 (36:36):
Yeah, well, holy what did you think about it?

Speaker 2 (36:41):
I was really surprised. The first mention of it to
me was from David and he said, yeah, so during
the Vietnam War with dinosaurs, and I'm like, oh, God,
is this another Chafnado and I just thought, Okay, we're
going to see some like really big grade movie. It

(37:03):
was so not a big grade movie. I was amazed
at how good this film was. Again, like, even just
a war setting film isn't an exciting prospect for me.
But the way this was done, the story I thought
it was. I liked the pacing of it and everything.

(37:23):
I know some of you guys didn't necessarily like the pacing,
but I thought it played out well. I liked this
situation that was in and what it was bringing out
in everyone. Yeah, and again like just mentioning those effects
of the dinosaurs, best dinosaurs I have ever seen on screen. Yeah,

(37:46):
it threw me for a six. I thought this is
way too good.

Speaker 1 (37:50):
How was this done?

Speaker 2 (37:52):
Like, yeah, I can't really praise it enough. There there's
just so many good things to watch in there.

Speaker 3 (38:04):
It was.

Speaker 2 (38:05):
It was a bit hard to find things to quibble about,
except there are like little things I would say, you
know when because we have Russian characters in there, which
is kind of part and past of what's tied up
with everything going on, and they all speak English with
a questionable Russian accent.

Speaker 18 (38:25):
And I could I could.

Speaker 1 (38:29):
Do without that I could.

Speaker 2 (38:31):
I would rather have Russian actors or someone who can
speak Russian speak Russian to each other and just have subtitles.
It would work a lot better. I don't know, I
just I just get a bit fussy about these things.
It's fair enough when they're talking to like the American

(38:51):
soldiers that they need to speak English or whatever, that
would make sense. But when they're just speaking to each other,
I feel doesn't keep it genuine. And most of what
was going on felt genuine, despite the fact that it
was set with dinosaurs in the modern age, you know,

(39:12):
it's just minor things like that that kind of got
to me. And there was only one sort of let
down in the story as far as I'm concerned. There's
a character called Miller in amongst the vulture squad there,
and he's got a bit of a history. I think
we sort of see at the start he kind of

(39:34):
he's a little bit wrestling with you know, what they've
done on the field or whatever, and then it kind
of gets linked to another character at the end who
wants to kill him, and I'm like, that wasn't really
set up. Is it him specifically you're after or are

(39:56):
you just blaming him because he's there. It seemed like
they were linked and that should have been spelled out
more throughout the film. Just to suddenly be like that,
it's like, hang on, that kind of threw me for
a six Can we replay that? Yeah, So there's just

(40:16):
little moments like that that could have been played out
better throughout the film. But otherwise I thought the performances
were pretty good. Yeah, it was a great role for
Ryan Quanton. I thought he did really well.

Speaker 3 (40:31):
And we have the.

Speaker 2 (40:35):
What was the young young guy's name, Leon? I think
it was played by Carlo Sampson Junior. Yeah, he was
kind of like our way into the film, so he
was like the new be to the group. He was
a little bit more innocent despite being in wartime. And yeah,

(40:56):
I think he brought the heart to it, which I
thought was really good to watch. So thankfully for that character.
It helps bring a lot of the audience in and
I thought that performance was good. So it's kind of,
you know, being the heart the character you want to
follow in is you know, you're kind of rooting for
him the whole time, Like, gee, I hope he makes

(41:17):
it through because you can see all these characters have
things haunting them, and they've got the foibles and things,
and it's like, Okay, they're not the necessarily the nicest
guys always, but they've got each other's back, but you know,
they've got their dark sides as well. So yeah, I
thought it was really interesting. I would have liked it
saying just a couple of those things played out a

(41:40):
little bit more. But yeah, what about you, Carl.

Speaker 18 (41:43):
Yeah, I really enjoyed it as well.

Speaker 15 (41:46):
I'm like the tri you like I both.

Speaker 18 (41:50):
I am kind of a fan of Luxpar's movies, but
at the same time, I can't the idea of this
being like a dinosaur and Vietnam war movie, Like, yeah,
it has a real B movie. He kind of just
idea to it, you know, just it feels like the
kind of kind of schlocky action movie kind of thing
that that would be like a straight to straight to

(42:12):
to be kind of.

Speaker 3 (42:15):
Kind of.

Speaker 13 (42:17):
Movie.

Speaker 14 (42:18):
Yeah.

Speaker 18 (42:21):
All I mean not to say that if this does
end up going on to be, it's not to say
that it's a bad thing. It's just it is surprising
good Like as a like, I'm the on the fan
of looks back because I think it's not easy for
him to make. I mean, it's not easy to to
make the kind of movies that he makes in Australia

(42:42):
with the budget that he makes them with. And even if,
like some of them have been a little bit rough
around the edges, I think I'm still impressed at what
he brings to the table as such a determined filmmaker,
and also like his background in production design, and here

(43:03):
he's also he takes on the role of a visual
effects supervisor like he did with Occupation Rainfall, and like,
like David says, this is I would say this is
his best film to date, but not just in the
not just in special effects and how well put together

(43:25):
the movie is. But yeah, the actual characters in the
writing is pretty good too. But yeah, like the CGI
just just straight off the bat, it really does deserve
a lot of credit because, as you say, Harley, like
they the dinosaurs in the movie just look so they
look just looks so real. Like considering how a lot

(43:48):
of CGI heavy movies have been going, especially that the
Jurassic Park movies, which have budgets of like hundreds of
millions of dollars, and I think the more the more
CGI heavy that they have become, the more the more
fake they look. And whereas like the original nineteen ninety

(44:09):
three movie, it still looks good. The SEEDGI in that
movie is so limited to a couple of scenes that still,
like thirty years later, it still looks good. And that's
like the case here. I think that a lot of
this movie was filmed by on location, and they did
they really did do as much stuff with the film

(44:32):
as they could, like for for real, like actually, yeah,
filming out in the middle of jungles, and like it
would have been just it would have just like Apocalypse now,
like filming in the middle of areas where nobody, no man,
no people have ever stepped foot, and these people are

(44:54):
like lugging film production equipment into the jungle to film
this movie, Like it would have made production just a
hell of a pain in the ass, and yet it
makes the movie look so much better and so much
more authentic. And yeah, so like the CGI and that

(45:15):
kind of stuff that looks really good as well, because
it is it's kind of limited, but when they do,
when they do show that's that stuff, it's actually really good.
And on top of that, you don't say because like
the Jurassic Park movies, which I guess are kind of
like the watermark for like dinosaur films. They're usually kind

(45:38):
of you know, made made for kids. But this movie isn't.
It's an adult movie. It's a it's a war movie,
you know, like it's a movie like Platoon or like
Apocalypse Now that actually is like really violent and really dark.
And so when dinosaurs are tearing people apart, it's bloody

(45:58):
and it's violent. It's pretty horrific. You know, Like, this
isn't a movie that you'd, oh, you know, little little
Belly likes dinosaurs. Okay, let's put on prove war for him.
You know, he's going to be having nightmares at the
scene where they get where the Russian soldiers get eviscerated
by pterodactyls like pulling their ups out, you know, like yeah,

(46:19):
ye're absolutely right.

Speaker 2 (46:20):
It's like, you know, and dealing with the whole wartime issue,
like you know, Vietnam is a real point of conjuncture
amongst people of that you know shouldn't have been there,
you know, blah blah blah, and just the the trauma
that's come out of it for so many people. Like
it's kind of dealing with that at the same time

(46:42):
and the horrors of war, but then dinosaur attacks as well.
It's like it is pretty tough, and it does going
to cover a few of these things, like, not not
as fully as the dinosaur part, I guess, but you
know it's in there.

Speaker 18 (46:58):
Yeah. Yeah, like I believes is the novel that this
is based on the story of the film. Actually from
what I've seen, I haven't read the novel myself, but
it seems to stay pretty close to that source material.
So as you were saying, Harley, the way that some
of the characters they had like backstory and there was

(47:20):
a crossover things happening between them, I think a lot
of that is actually in the book. Maybe some of
it could have been expanded on a little bit more here. Yeah,
I mean the film, the film already goes for a good,
good length, which I was fine with. But yeah, I.

Speaker 2 (47:42):
Didn't notice the runtime at all. I was in it
the whole time. Did not feel uncomfortable for one second,
which you can sort of tell sometimes when I've been
sitting here a while, haven't I.

Speaker 18 (47:53):
Are we wrapping this up yet or not?

Speaker 1 (47:56):
But yeah, it's going to add to that. With what
you were saying about the look and the feel of
the film and how bloody it is. It almost feels
like it's a war horror rather than a war thriller.
Like there's real horror elements to this film as well.

Speaker 18 (48:12):
Oh, definitely, definitely like it's it the stork, like the monsters,
like stalking the characters. Uh, the the parts where they're
kind of being attacked on all sides by Uh, it's
kind of like a zombie film with with with dinosaurs.

Speaker 2 (48:32):
I guess, like it's all in the pacing and everything
as well. That's why I mentioned it. Well, Yeah, the
the way things play out and you can feel the tension,
the way the scenes are structured, and the darkness and
you know, the way things are lit and it's rainfall.
You you just get that that that mood created so well,

(48:54):
it's amazing.

Speaker 1 (48:55):
Yeah, it reminds me. It reminds me a lot of that.
Not that they copied each other or anything like that,
but just the mood. It reminds me a lot of
Gareth Edwards' breakout movie Monsters, where yeah, like the Aliens
and the cajws, but the film itself felt more like
a again, almost felt more like a war film rather

(49:15):
than a monster film. They kind of have the same
feel where it's like it's a war film with monsters
as well.

Speaker 18 (49:24):
Yeah, Dale Dye, who's a Vietnam War veteran and he's
a frequent military advisor to Hollywood. He actually worked with
He worked with Luke Spark on this film in the
same way I think he's worked with him in the
past on other productions like this is a guy that's

(49:48):
worked on Saving Private Ryan and different movies such as that.
As far as like just getting the getting the characters
like that are in the military to and like they're
legitimately characters in the military and just like so he's
he's I think a lot of that adds a lot.

(50:09):
It adds legitimacy to these characters that they do feel
like an actual squad, you know, they do feel like
a Vietnam squad, even though you're you're going into a
it's a movie about dinosaurs. So it's it's serious and
like it touches on things like PTSD or well like

(50:30):
feelings of guilt of war crimes and other like mental
health quirks, like a drug addiction in order to deal
with things that are going on. And all that said,
it's the movie is just still a hell of a
lot of fun because all those kind of those dark
and gritty things like which are handled with a degree

(50:51):
of like respect for people that actually have served in
the military. They're still they handle like they're dark and gritty,
but it's kind of like the way that things are
handled in say Sin City, which it's a comic book.
It's like a comic book called comic book movie, and

(51:12):
like it takes on like the dark subjects such as
child abuse, but it's a story about you know, involving
a yellow mutated pedo, you know, like it's it's this
is a movie that deals with like war, the trauma
of war, but it's also a movie about dinosaurs, and
it's like it's able to do both of those things

(51:33):
really well. So I think it looks like it sounds
weird to say that this is like, hey, the movie
with the din with all the dinosaurs is like the
best movie of this filmmaker's filmography. But I mean you
could say the same thing about Steven Spielberg. And like,
I really do think that Luke Sparks has like this
more than any other film in his career, like really

(51:55):
shows that he has like a real bright future ahead
of him.

Speaker 1 (51:59):
Yeah, definitely. Yeah.

Speaker 18 (52:01):
Yeah, So well getting down to it, well, Dave, what
did you what would you give Primitive War out of five?

Speaker 3 (52:10):
And why?

Speaker 1 (52:12):
Yeah, look, I'm giving this four out of five. I've
seen a lot of Australian films over the last couple
of months because of Myth being around, and I've got
to say this is one of my favorites. We've made
some really really good genre films, and of course I
saw the other war genre film as well at Myth
with a Beast of War, which is basically a war

(52:34):
film with a shark thrown into it, and that and
Primitive War are right up there. So yeah, we've got
a very very exciting time with Australian cinema at the moment,
and I think it's going to be pretty exciting to
see what happens with Primitive War when it gets its
big US release as well, because I think Luke Spark
might just be the next big thing coming out of

(52:58):
Australia going over to America.

Speaker 18 (53:00):
Definitely, Holly, what about yourself, what do you give Primitive
War out of five?

Speaker 2 (53:06):
Yeah, I'm totally in alignment with Dave here. It's a
four out of five. For me, I think Luke Spuck
deserves all the praise he gets given for this a
great piece of work. I recommend everyone to check it out.

Speaker 18 (53:20):
Yeah, and it's four cubed because yeah, I'm going to
give it four out of five as well. Yeah, as say,
this is it's a great film.

Speaker 15 (53:29):
It is a movie that.

Speaker 18 (53:32):
Usually Australian films have trouble maintaining like a cinematic presence
in Australia, but this is a movie that's actually they've
announced the cinematic runs have been extended because it's actually
doing so well. So that's actually it's really promising. It's
really great to hear that audiences seem to be really

(53:54):
receptive to this movie. And as you say, it'll be
really interesting to see how America takes to this movie
because honestly, there's not like it's an Australian production. But honestly,
I think more than his movie, his his movie Bring
Him to Me, which was like an American movie filmed

(54:16):
in Australia, it was like an American set movie filmed
in Australia. This doesn't really have that feel of being
an Australian film. So I don't think that even if
there's some kind of you know, a resistance to people,
I don't want to go see that. It's an Australian movie.
I don't think they're going to get that from this movie.
I think it's going to have a wide appeal worldwide.

(54:38):
So yeah, it's gonna be four. It's four out of
five from all of us. I I it's it's a
great film. Looks Bock should be looks back and everyone
involved should be really, really really proud of what they've
put together here. And we can't hear at subculture. We
can't recommend checking out enough. And it is in pretty

(54:58):
much a wide release at the moment, and I guess, uh,
we don't just recommend go out and check it out
and support Australian film.

Speaker 17 (55:23):
Some of them out made to wait, the Flan po
the Red White.

Speaker 6 (55:31):
And with a bad Way to.

Speaker 22 (55:33):
The Chief pont the cannon at you now lay me,
leam me, I ain't anna set a son, don't blame me,
read me, there ain't no water.

Speaker 17 (55:52):
Some pop them out Seelver Spoon and half.

Speaker 6 (55:56):
Now don't they help himself.

Speaker 23 (56:00):
With a tax man?

Speaker 7 (56:01):
Come to the doll now the House.

Speaker 22 (56:04):
Of a Lack of Romance, say yeah, it ain't mean
yet me, I ain't no millionaire sign.

Speaker 7 (56:12):
Don't know it ain't mean yeah.

Speaker 6 (56:16):
I mean there ain't no water that war no.

Speaker 17 (56:34):
Yeah bumping here side fangled tag who then send.

Speaker 7 (56:40):
You down on the wall.

Speaker 17 (56:41):
Now when you ask your pomo shook the gill? Who
want to answer?

Speaker 23 (56:48):
Mom?

Speaker 7 (56:48):
Mom?

Speaker 12 (56:50):
Help?

Speaker 7 (56:50):
It ain't mean yeah, I mean I ain't no military side.

Speaker 23 (56:57):
Yet.

Speaker 16 (56:58):
Mean.

Speaker 1 (57:23):
Well, listeners, we know that you love to discover new
music on this show, and there's a debut full length
album out that I wanted to chat to you a
little bit about. Right now. There is an as called
ratio Strain and this brand new album called Exorcism is
absolutely amazing. So to find out a little bit more
about it, I thought we would actually get Vanessa from

(57:44):
Ratio Strain on the phone to chat a little bit
about it. Welcome to the program, Vanessa, Thank you for
having me. No worries Now, Vanessa, tell us a little
bit about how ratio Strain started, because this is such
a unique sounding project. How did it all stop?

Speaker 13 (58:02):
Fee?

Speaker 24 (58:04):
Yes, So I was actually a drummer in a band
called Waste. It's an industrial noise band. I was in
that band for I want to stay close to ten years,
and it was a pretty well established industrial noise band
in the Los Angeles scene. And Shane, who is the

(58:26):
maker of Waste, he kind of urged me after a
little while to make my own project, and for a
while I just kind of put it off and said.

Speaker 14 (58:36):
Nah, just the drummer. I'm just the drummer.

Speaker 24 (58:39):
But after a while of playing shows and being the
only female in that style of music, I went, you.

Speaker 14 (58:48):
Know what, I think, I really do want to try
to make.

Speaker 24 (58:53):
My own music and have some female representation of that
industrial noise sound. So in twenty nineteen I made my
first song.

Speaker 14 (59:03):
Which was not that great, but I kept going at it,
and here we are today.

Speaker 1 (59:09):
I was going to ask you a little bit about that,
because we don't see very many female artists in the
industrial genre, and I was wondering, could you tell us
a little bit about that, like was it difficult for
you to break into that genre, even in Waste, or
how how did you find that experience?

Speaker 14 (59:29):
You know, honestly, I've always been involved in music.

Speaker 24 (59:33):
Even when I was a teenager, I was in marching band,
in concert band, and I was consistently the only female.

Speaker 14 (59:44):
I played tuba and.

Speaker 24 (59:46):
I did drums, and I was constantly, you know, the
only female in those areas.

Speaker 14 (59:52):
I think I kind of got used to it.

Speaker 24 (59:55):
And in the you know, the goth industrial scene, there
aren't a lot of female artists that do what I do.
There are female artists that sing, for example, or you know,
maybe play a different instrument, but.

Speaker 14 (01:00:10):
Not at the level that I do. And again, that's
why I wanted to start this.

Speaker 24 (01:00:16):
Project, because I would go to shows and play as
the drummer and they go, oh, are you the singer
or this or that? You know, I would constantly get
the stereotypical questions yea of oh, and I went, no,
women can do so much more than that.

Speaker 14 (01:00:36):
And now, over the past.

Speaker 24 (01:00:38):
Couple of years, I am seeing more female artists out there,
which is wonderful. I'm seeing more being booked for festivals
and stuff. But I feel like we still kind of
have to push a little bit to get that recognition.
I have spoken at panels. There's a wonderful festival in
Seattle called Mechanismus and they hold panels. I was able

(01:01:00):
to sit at a panel of all female artists and
talk about what it is to be in the goth
industrial scene as a female artist, and it was really wonderful.

Speaker 1 (01:01:12):
That's amazing, Vanessa. One of the things also I find
with the genre is that every artist, whether it be
an individual or whether it be a group or a band,
they all have a very very individual kind of sounds,
like a very unique sound to each project. When you
first started Ratio Strain, what was that like trying to

(01:01:32):
find the sound that you wanted to capture.

Speaker 14 (01:01:37):
Well, it's true.

Speaker 24 (01:01:38):
I think everybody's sound evolves over time, and I think
you might start with the idea of what that's going
to be, and then sometimes it hits the mark and
then other times it doesn't. I think as I've been
making more music over the years, it's definitely hitting that mark.

Speaker 3 (01:01:56):
For me.

Speaker 24 (01:01:57):
I knew that I wanted to create something that's different
from what I've been hearing in the clubs and just
in general and what's popular. I'm not really one that's
gonna make, you know, a poppy kind of sound.

Speaker 14 (01:02:10):
I just don't have it in me. And I'm heavily
influenced by rap and hip hop.

Speaker 24 (01:02:17):
I mean, I grew up grew up in the LA Area,
and that time when I grew up there, it was
very heavy into noise and very harsh sound and rap
and everything, and so I know that has one hundred
percent influenced my sound.

Speaker 1 (01:02:37):
Definitely, And there's a bit of a nineties inspiration there too.
Kind of felt when I listened to it. What kind
of artists were you listening to you back then.

Speaker 14 (01:02:47):
When I was making an album, or just in general, just.

Speaker 1 (01:02:50):
In general, like when you were first getting into music,
what kind of nineties artists were you listening to?

Speaker 3 (01:02:57):
Oh?

Speaker 14 (01:02:57):
My god, literally everyone.

Speaker 24 (01:03:00):
I mean, I would listen to anything from a Tech
or AFHX twin Orbital, and then I'd be listening to
Ministry and Leather Strip, and then you know, I'd be
listening to some metal I really like Strapping Young Lad
and Death and all this stuff. Then I would be
listening to Tupac for example, or Doctor Dre so literally everything.

(01:03:24):
I feel like it's important to listen to different styles
of music, yeah, because it helps shape you as an artist.
And I've always said that eighty percent of music comes
from twenty percent of.

Speaker 14 (01:03:38):
Beats, Meaning you can find the same beat in.

Speaker 24 (01:03:42):
A goth industrial song that you can a country song
that you can't a pop song, because it's all connected.

Speaker 3 (01:03:49):
Yep.

Speaker 1 (01:03:49):
So tell us a little bit about Exorcism. What kind
of things were you thinking about when you first sat
down to start working on this full length album. Where
the things that you wanted to with this album, things
that you wanted to capture in your sound. What kind
of things were you thinking about.

Speaker 24 (01:04:06):
I usually start with an idea or a theme. It's
more of a feeling, I think, than a sound, and
sometimes the sound comes afterwards. So I really wanted the
theme to be about personal evolution and like dealing with
the demons within.

Speaker 14 (01:04:25):
That's why it's called Exorcism. And I really like making.

Speaker 24 (01:04:30):
Songs that have a meaning and a thought behind them.
So every name has a specific meaning, it's in a
specific order, and so I wanted to kind of build
that that journey. So the first song is kind of
I think, open and hopeful, and then it ends with
this kind of ominous, textured sound, and that's really what

(01:04:51):
I wanted to create, this more of a journey.

Speaker 14 (01:04:55):
But then I also have, you know, definitely.

Speaker 24 (01:04:59):
Those heavy influence, those ninety influence, So Exorcism especially is
very much so Aphex twin Come to Daddy. I was
listening to that song a lot, and I went, you
know what, I really want to create something that has
that that sound of just glitchiness and texture with the
samples and really bring back that nineties grittiness that I

(01:05:23):
sometimes miss.

Speaker 1 (01:05:24):
I also love too, that there's moments in there with
tracks where you try to capture moments, such as trying
to capture that exciting or a romantic experience when you
meet somebody me. I love that you try to capture
those moments and how do you find it when you
sit down to work on a track like that and
you're trying to capture a moment or a feeling.

Speaker 14 (01:05:48):
So I think that song is killing if that's the
one you're thinking of. Yeah, yeah, so that one.

Speaker 24 (01:05:57):
I I named the song that because I had a
list of song names I had and I was, honestly,
I was listening to Egyptian Lover and a lot of
prey style stuff, and Egyptian Lover his one of his
main songs.

Speaker 14 (01:06:16):
Egypt Egypt.

Speaker 24 (01:06:17):
He has this kind of vocal breathiness that like, and
I really liked that. I'm like, oh man, that sounds
so good. It's like this kind of like that anticipation,
and I went, how can I capture that? And this
song is kind of like this, I'm feeling that this

(01:06:38):
excitement you know when you're with someone new, and that
love lust and your heart beats rapidly. So that's kind
of where that sample came in that I brought, and
I wanted it to be really like breathy, and then
the drums to be kind of like your heart and
how how you feel that whirlwind when you're you have
that puppy love.

Speaker 1 (01:06:57):
Yeah. Being a solo on as well, how do you
find that experience of once you've got an idea for
a track, getting everything down Because there are so many
elements and so many layers to your music with each song,
how do you go about working on everything and knowing
how you want everything to sound?

Speaker 14 (01:07:18):
Honestly, being a drummer, I start with the drums. That's
the easiest. That's the easiest part.

Speaker 24 (01:07:23):
And I love making loops in drum fills and all
that kind of stuff. So really that's what it comes
down to for me is I start with the drums
and I create something that I think sounds really cool,
and then add.

Speaker 14 (01:07:38):
Everything else into it.

Speaker 24 (01:07:39):
And sometimes I go, oh, I really want this to
sound really hard and just driven, and other times I
want a lot of atmosphere and space in the song,
but I typically play around with it for a little
while until I get that aha moment. Other times I
am able to kind of of get there really quickly

(01:08:02):
and feel proud.

Speaker 14 (01:08:03):
Of myself for it. I think Exorcism was one of those.

Speaker 24 (01:08:07):
Ones where I went, oh, man, I can't believe I
wrote that, because I did it fairly quickly and had the.

Speaker 14 (01:08:13):
Vision in mind and went wow, I'm pretty cool.

Speaker 1 (01:08:18):
So with the album out, now, what's your plans next?
Are you're hoping to get out there and do more shows?
Are you hoping to maybe go international with some shows?
What are the plans going forward now?

Speaker 14 (01:08:31):
Yeah? Absolutely.

Speaker 24 (01:08:33):
I have done some shows in the UK for a
festival called Persistence a couple of times.

Speaker 14 (01:08:39):
I would love, love, love to get back out there.

Speaker 24 (01:08:43):
Basically right now, I am working on booking shows and
getting myself out there as much as I do love
playing shows absolutely, So that's the main thing that is
the downfall, I'd say of being just one person that
all of the responsibility lies on me, and I'm just

(01:09:03):
one person to write the music and promote it.

Speaker 14 (01:09:06):
And book the shows and just put myself out there.
It's a full time job.

Speaker 3 (01:09:13):
For sure.

Speaker 1 (01:09:14):
Definitely. Well, Vanessa, we are psyche glad that you have
made this album because it is an absolutely amazing album.
And I guess to finish off thank you. What would
you like to say to people out there before they
sit down and listen to the album in full?

Speaker 24 (01:09:29):
Oh gosh, Well, I always say I hope they like it.
I am always honored and humbled and thankful when anybody
likes my music and reaches out to me. And I
always say that I make this for the ladies out
there that like a little bit of harsh stuff, because
we are out there, so this is I i'ld say,

(01:09:51):
my album for them. And I hope to get to
play in your town soon.

Speaker 7 (01:10:29):
St st.

Speaker 25 (01:10:32):
Stanist stanist stan Stane stant.

Speaker 7 (01:11:23):
A man a man a man. You show.

Speaker 26 (01:12:20):
Sh well listeners, We have some more new music to

(01:13:51):
play for you this morning.

Speaker 1 (01:13:52):
Of course, we have had Verticoli on our show before
a number of times now, but they've got a brand
new single out called see You Around. They've also announced
an upcoming album as well, so we thought today we
would actually get Sam from the band on the phone
to chat all about this new single. Welcome to the
program mate.

Speaker 3 (01:14:11):
Oh thank you about having me no worries.

Speaker 1 (01:14:13):
Thank you now mate. We are so excited about being
able to play see you around. So tell us a
little bit about this track and how it's coming to being.

Speaker 5 (01:14:22):
Well.

Speaker 27 (01:14:23):
The song that I initially just wrote as a like,
you know, cool riff and a bit of a vocal
idea and wasn't really sure whether it would be about
a Collie song or I was doing some solo stuff
for a while there, but I always offer everything that
I'm not sure about the band first, and they were
keen on it. Then once upon a time there's a

(01:14:45):
local band called Lennon Wells, and I was going to
get the singer Ben to kind of cameo on the
track with me, but then that didn't really go anywhere,
and then it came time to record our next album
and I thought I better just seen the whole thing.
And yeah, it's a bit of a difference star for
us because it's a little bit more subdued. But there

(01:15:06):
are mulketple tracks on the album that are a bit
more subdued. This one's subdued in a more kind of
Kirk File slash Tom Petty sense. But then there's another
one which is kind of kind of a bit more
of a low fire, bedroom producer drum machine vibe. And
then the rest of the stuff on the album is,
you know, variations from kind of hard rock and punk.

Speaker 1 (01:15:29):
To metal awesome. So I understand as well that this
track kind of came from your set at the Marion
Bay Falls Festival as well. How did that? How does
that link in?

Speaker 3 (01:15:41):
H Well, we yeah, we were lucky enough to open
the Marion Bay Field stage one year.

Speaker 27 (01:15:47):
I just had a lot of very positive memories and
you know about that time in my life, you know,
like everything's kind of a bit more kind of vivid
and exciting.

Speaker 3 (01:15:59):
You know, then it might end up being in the
early thirties.

Speaker 27 (01:16:02):
Not to bag out the early thirties too much, but
there's just, you know, quite often at Less festivals there's
a bit of young love going on and there's a
certain vibe, and for whatever reason, I just feel like
this song kind of catches a bit of that, kind
of like kind of late afternoon at the Falls Festival

(01:16:25):
with a few drinks on board, maybe a bit of
funny stuff whatever.

Speaker 1 (01:16:29):
As you said, it's a very different track to what
you've done before. How did you find that getting to
be able to work with harmonies and also to work
with a little bit of atmosphere as well.

Speaker 27 (01:16:41):
Yeah, because I've kind of done a bit of it
with some of the little solo ep that i'd done,
and we've always kind of had, probably on average per record,
you know, at least one more subdued track, like on.

Speaker 3 (01:16:55):
Our last album, Sailor was the one, and then on
the album before that, there was a track of Good Intentions.

Speaker 27 (01:17:01):
And then on our very first EP we did because
we've got three EP's as well, that had a couple
of softer songs on it. So yeah, when I was
started out writing songs, I guess my idol was kind
of Jeff Barclay as far as what I was aspiring to.

Speaker 3 (01:17:19):
And as the years have gone by, my range of
idols have kind of and influencers.

Speaker 27 (01:17:26):
Ranged the full spectrum, from like my early influences like
kind of Eddie.

Speaker 3 (01:17:30):
Vedder and Pearl Jam to.

Speaker 27 (01:17:33):
More now you know, like.

Speaker 3 (01:17:37):
Well really Barries.

Speaker 27 (01:17:38):
Depending on what I'm listening to at the time, but
I was listening to a lot of Tom Petty at
one stage and now I'm just listening to a heap
of Sabbath And but I've always got like you know, Hendrix,
led Zeppelin, Pearl Jam, those kind of influences are pretty
constant over the years, definitely.

Speaker 1 (01:17:55):
So the brand new album is called Silver Linings and
it's coming out on November. Tell us a little bit
about the album. How have you guys gone about recording
this one? Which producer have you worked with? Tell us
all the nitty gritty.

Speaker 27 (01:18:09):
Yeah, So with the last album we did, we worked
with John Grace, who we thought was out front of
Rick Ruben and we're very excited to have found him,
and he subsequently decided the life of a music producer
wasn't for him, and so he's gone back to you
and need to study engineering.

Speaker 3 (01:18:25):
And then we ended up.

Speaker 27 (01:18:27):
You know, previously we'd had our stuff mixed by Forrester Savile,
and then before we started this album, Luke Chincotta, who
previously kind of worked with Forrester, he mixed the song
for us because Forrester wasn't available, And then we decided

(01:18:48):
on the new album that we'd give Luke to go
because he seems keen on our stuff and the experience
is really positive. Great producer, great mixer and engineer. So
now we've kind of gone through having found even having
stound out Brendan O'Brien, so it's.

Speaker 3 (01:19:04):
Yeah, you know, and for those who aren't in the know,
they're like.

Speaker 27 (01:19:07):
You know, a couple of the greatest producers of all
time that Brendan's a bit more hands on engineering mixing
kind of guy, whereas you know John can could do
that stuff that we had it and dedicated engineer at
the time, so John was just producing definitely.

Speaker 1 (01:19:22):
So with the album coming out on November six, what
have you guys got planned with the for the rest
of this year and going into the Australian summer.

Speaker 27 (01:19:30):
So we're trying to do as much as the current
but you know, I'm I've got a fifteen month old
daughter now and so everyone's got a bit more of
that stage in their lives where got to kind of
make the make the bread and such defeat the family.
So we want to we want to tour as much
as we can for the album, but we want the
shows to be good ones when we do, so hopefully

(01:19:52):
we'll play some shows in support of the album, like
do one kind of run in December November kind of time,
but then depending on how the album's received, we're very
open to doing a wider two of it. You know,
we've not always nests. I mean, as a musician, you
don't always necessarily see a correlation between the quality of

(01:20:16):
what you think the work is and how it's received
by other people. Because certainly at times we've had, you know,
songs that have kind of had more success than we
expected and didn't necessarily think that highly of them as
far as they're kind of potential to reach people on
a commercial level or whatever. So yeah, it kind of depends.
But if anyone out there wants to support our endeavors

(01:20:36):
with the new album and make sure that we can
get it out there to as many years as possible,
we can always go on to our band camp and
download one of the albums there. You know, that's one
way in the streaming age, that's one way to support bands.

Speaker 1 (01:20:51):
Definitely. So mate, we are going to play see you
around now on our show for the first time. So
what would you like to say to everybody out there
before they listened to this amazing truck?

Speaker 3 (01:21:02):
It's not chatting with you and I'll see you're in.

Speaker 28 (01:21:18):
A shot out into the night second trickle Vie.

Speaker 29 (01:21:25):
Nothing seems to change, there's blackened, the sky's chum my home,
my ny true mister, Ever, I'm out is shot nothing moon,

(01:21:51):
You're heading, I'm coming.

Speaker 12 (01:21:57):
It's nice scene.

Speaker 8 (01:22:00):
Whatever else, go.

Speaker 7 (01:22:02):
Heading and I'm coming now.

Speaker 6 (01:22:06):
It's just it's nice to see you now.

Speaker 5 (01:22:13):
Mm hmm, hanging out on seacres using my grip.

Speaker 8 (01:22:20):
I'ncern to slip trying.

Speaker 12 (01:22:23):
Jeep by the Toms Sons.

Speaker 30 (01:22:29):
Come up your order.

Speaker 31 (01:22:31):
C m hm.

Speaker 8 (01:22:36):
You don't always be a lot of way. You're aheading
and bum coming now.

Speaker 12 (01:22:53):
Tell it's nice scene.

Speaker 7 (01:22:57):
You're heading and I'm John.

Speaker 8 (01:23:01):
Cow still its nice, joy, I'm John.

Speaker 12 (01:23:54):
Still this nice see you.

Speaker 7 (01:23:58):
Go ahead and I'm coming down. This is nice to
see ever do heading? No, I'm coming.

Speaker 8 (01:24:15):
I wait.

Speaker 6 (01:24:19):
Your heading, No, I'm coming.

Speaker 13 (01:24:26):
Nice well, listeners.

Speaker 1 (01:25:12):
Now, Kyle and I are going to take a look
at a brand new movie that is in cinemas right now.
This is the new film from director Jay Roach, who
of course worked on the Austin Powers franchise and done
a lot of comedy over the years, and now he's
branched out to do The Roses starring Olivia Coleman and
Benedict Cumberbatch. And I guess you could probably say this

(01:25:35):
film is very different to what he's made before. This
is very much a drama comedy. It's not the outlandish
comedy that we've seen from him before. It's based on
the popular The War of the Roses novel and basically
tells the story of a couple Ivy Olivia Coleman and

(01:25:55):
Theo Rose played by Benedict Cumberbatch. It tells the star
from the day they meet in a kitchen in London,
where she's a chef and he's an architect who's just
been told basically that he has outlandish ideas of wanting
to put gardens and stuff like that on an apartment

(01:26:16):
building is not what the firm wanted to do. As
a result, the project that he works on looks bland
and he doesn't want to have anything to do with it.
They decide to take the plunge and move to the US,
where Ivy wants to at first pursue her career, but
then ends up becoming a stay at home mum after
the couple have children. From there, though, things change. THEO

(01:26:41):
has a disaster at work and Ivy's restaurant suddenly takes
off that causes a different power dynamic in the relationship,
and from there it seems like this could be a
marriage destined to end, and that's where the magic of
this film kind of starts. Kyle, do you think of
The Roses? Yeah, See, i'd never watched the.

Speaker 18 (01:27:07):
Movie that was made directed by Danny Devita, starring Michael
Douglas and Kathleen Turner in the eighties, I believe, based
on the book The War the Roses. I've never seen that,
so I I guess normally I've got like a bad
taste of my mouth going in to any kind of
remake or anything that's like really successful thing, trying to

(01:27:29):
modernize it or whatever.

Speaker 1 (01:27:31):
So I guess I was a bit.

Speaker 13 (01:27:32):
More open to it.

Speaker 18 (01:27:35):
I like, I like Beneddicumberbatch as a comedian actor, and
I like, I've always liked Olivia Coleman as comedic actor.
I find that I've actually I think I knew her
more as a comedian than kind of the dramatic actor
that she'd become known as. But I thought it was

(01:27:55):
good seeing the two of them together, and so I
was kind of interested to see where this where this
film went. And I'd say definitely I really enjoyed their
chemistry together. I think that that really their chemistry in
the film is what carries the entire thing because most

(01:28:16):
of the movie is actually like a very as you say,
it's more dramatic than most of Jay Roach's other work.
It's like a very almost like very real kind of thing.
Watching this. It's very French, you know, yeah, like this
fan this this married couple that they start off really

(01:28:38):
pretty good with each other, and it's like almost the
almost the worst thing that could happen is the is
the husband allowing his wife to get a job. But
like things just start as things go downhill and they
very slowly ramp up. It's it. I have to say,

(01:29:01):
it's just a very real movie about watching these watching
these two people seem to really care about each other
grow to slowly resent each other, and as the shifting
dynamics of the relationship kind of cause everything to fall apart.
That's really what gives way to what I think I

(01:29:22):
was kind of expecting a bit from the story, which
is the whole thing of the characters really going to
war with each other, Like looking at the poster, looking
at the trailers, and even what I'd heard about the
other film, like I kind of I did kind of
expect it to be a lot more of the whole

(01:29:43):
thing of them really at each other's throats for most
of the movie, whereas in this film it does feel
like it's really drama about these two people trying to
make things work until it becomes really much more of
a comedic, slapstick kind of thing. I enjoyed it, but

(01:30:04):
I guess, I guess I just kind of didn't think
that the mix of these two styles kind of worked
quite as well as maybe it might have been the original. Again,
I don't know, I haven't seen it, But what did
you think of it?

Speaker 3 (01:30:19):
David?

Speaker 1 (01:30:19):
Yeah, Look, I found this interesting because I'm the same
as you. I saw the trailer for this, and I
thought it was going to be almost like the Elizabeth
Taylor Richard Burton Who's Afraid of Virginia Woolf, where it's
basically ninety minutes of a couple demoralizing each other, putting

(01:30:39):
themselves down, like putting each other down with like cutting
remarks and really really hurtful remarks as well. I remember
I saw that movie when I was in high school,
and I remember it almost traumatized me because I'd never
seen a film before with two unlikable characters, and I
was kind of expecting this film to do the same,
but I kind of realized you can't make that kind

(01:31:03):
of movie today. Like it's a difficult time for cinema
because if you do make a movie like that, it
pretty quickly gets around that this is a pretty full
on movie and perhaps you don't get the big multiplexus
wanting your film. Having said that, I should also point

(01:31:25):
out though that Jay Roach, the director, has said that
this movie is based off the novel, not off the
original film, and of course that can change things. I mean,
if you have a look at how many different people
take Shakespeare's work and change it, Like even if you
think of Macbeth, like we had a version made here

(01:31:46):
in Australia with one of Australia's leading comedians, Mick molloy
in it, where it was based in the Melbourne Underworld
crime scene, and then a couple of years ago I
saw Macbeth done by a British film company and set
during the period time and stuff like that. They were
the same story but based off the same book, but

(01:32:07):
very very different tellings of it. So I guess that
creeps into this as well. And I don't know, like
I don't know if this movie would have worked if
it was just them angry at each other the whole time.
Maybe it would have worked if we'd seen fights into
cut with Like I've just been watching How To Get

(01:32:28):
Away with Murder the television show, and they do that
really well, where it's like they'll show a scene where
a character kills another character and then it'll go back
three months like and go all the happy three months ago.
Why did they get to the point where he's plunging
a pen into her face? Like It's maybe if they'd

(01:32:48):
done it in that kind of style. But I saw
this very European, like a very French kind of way
of telling the story where it was like, yeah, this
couple are happy at the start, they go through some
little problems and then it results in an all out
fight where everything's coming out and stuff like that, which

(01:33:10):
is a very French way of telling it. The French
like to do that. They go over the top with
that final act. But I can't say I didn't like
the film. I really liked it. I liked the writing
of it. There was different times when it felt like
I was watching a theater show rather than a film.
But I think with the power of Benedictumbabatch and Olivia
Coleman as actors and actresses. They pulled that off pretty well.

(01:33:35):
And to be honest, I guess that is the natural
way of what happens with a couple. I mean, I'm
not trying not to feel beans too much, but I've
just watched a divorce happen in my own family, like
where let's just say, at Christmas time, Christmas last year,
I wouldn't have thought that couple was going to be divorced.

(01:33:56):
But here we are in what September, and they're divorced,
and it's a messy divorce. Like, so, I guess that's
the way it works in a relationship. Really, So yeah,
I mean I.

Speaker 18 (01:34:10):
Think that's kind of maybe what might disuade some people
from this this adaptation.

Speaker 1 (01:34:18):
If again, I've not read.

Speaker 18 (01:34:21):
The book either, so I think, like some people, because
the original movie was so popular, and because the whole
thing of them being really knives out at each other's
throats was such a major part of that movie, I
think that that might be a thing that people find
that they're kind of missing here. Yeah, but again, I

(01:34:43):
still really did think that the performances of the two
lead actors they were. They were funny when they were funny,
and it was really kind of heartfelt when it was
meant to be heartfelt, like it felt like a believable
like they had such great chemistry to Yeah, then it
felt like this this this relationship between these people that

(01:35:04):
have been together for ten years, like they've got that
connection and it's like slowly slowly falling apart. I actually
thought that the like the two of them, like they
feel like they're in a completely different movie than the

(01:35:26):
all all of their friends. Like the thing there is
quite a loaded cast, like there's quite a lot of
bloated but there's a lot of other people in the movie,
like a lot of friends and co workers and.

Speaker 1 (01:35:40):
This and that, Kate Mckinneberg, Andy Samberg and Cutie Gatwa
so many.

Speaker 18 (01:35:47):
Yeah, Yeah, there's just there's a lot of people. And
I mean to that end, Andy Samberg and Keate McKinnon
and like the two that really get most of the
most of their lines, most of them as far as
being supporting characters, and they they they all all those
characters feel much more like a like a slapstick kind

(01:36:08):
of thing, especially Kate McKinnon, like she's playing the same
kind as I don't want to say, same kind of
zany character that she plays and everything, but much more
comedic and much more lighthearted than what Kama Batch and
Olivia Corman and you're.

Speaker 1 (01:36:25):
Not really sure what she's trying to achieve Like that.
I was actually gonna ask you next, like what you
thought of those characters, because I thought Alison Jane was
really underdone.

Speaker 18 (01:36:35):
Yeah, she has one scene, and she is an actress.

Speaker 1 (01:36:38):
That I absolutely love, and when I saw the trailer
and saw that she was in it, that instantly made
me want to see it, and I was kind of
disappointed that she's really only in one scene. But with
Kate McKinnon's character of Amy, it feels like you don't
know what she wants, Like she is she into theo,

(01:36:58):
Like does she want a relationship with him? Does she
just do it to kind of piss off her husband?
It was kind of weird, like why her character was
doing what she was doing.

Speaker 18 (01:37:10):
Saying the things that she's saying. Yeah, it's like it's
almost like her. I actually get the feeling from watching
it that maybe some of her stuff may have been
cut from the movie, because like this this was saying,
really this was saying really bad and I don't mean
for it too, but it's like, I mean, like like

(01:37:31):
Olivia Coleman looks gorgeous in the movie, and Kate McKinnon's
a gorgeous woman, but like it's almost like the lighting
or whatever of her it's it's it's it's like she's
been made to look sick in the movie. And then
there's a part late like towards the end of the
movie where she's talking about being sick, like if like

(01:37:51):
as a potential thing. And it's like that those two
things goin together made me think, like have they kind
of cut like subplot about him being like on their
store or something.

Speaker 1 (01:38:03):
It's interesting that you say that, because I really thought
the direction this movie was going was when THEO was
depressed and stuff like that. I really thought this film
was going to go in the direction where Ivy says
to him, why don't you like have a relationship with Amy?
And then like and then it was gonna i don't know,

(01:38:23):
like even a partner swap situation or something, and then
it all explodes like that the jealousy comes out and everything,
because it felt like that's where it was hitting it,
like because Amy was flirting with THEO right in front
of Ivy like and her own husband, and I really
thought it was going to head in that direction of
where they decide, oh, maybe that's the thing that they

(01:38:44):
need to spice up their marriage, is he goes off
and has one night with Amy or something and then
it explodes. But it didn't. Like That's why I was
going to say to you and ask you about those characters,
because it feels like all those characters sub plots just end.
I mean, there's another line in there about how Ivy

(01:39:06):
says to Jeffrey, the guy who works for us, something
about relationships, and he says, that's why my relationships are
all truckers in the car park at lunch time. It's like, again,
he seems happy with that choice, but it's not explored
any further. It's like, yeah, it kind of felt weird.

Speaker 18 (01:39:26):
Under It's like that all the all of the friends
and co workers I found were very very one note, and.

Speaker 1 (01:39:32):
Even that relationship with the coworkers because technically I'm not
trying to spoil But THEO gets fired from the workplace
where he's at, but he still seems old chummy with
other architects, with the people that work there, and then there's.

Speaker 18 (01:39:48):
Like there's a part later on where he's talking about
losing his clients, and it's like, wait, what clients? You
didn't like this last time we heard? You didn't have
any potential, you didn't have any possibility of having anyone
wanting to work with you again.

Speaker 3 (01:40:03):
Where did this come?

Speaker 1 (01:40:03):
That's what I think.

Speaker 18 (01:40:04):
A lot of stuff may have been cut from the movie.
And I know that Jay Roach Like I mean it's
I just know what Jay Roach's other movies like they
have had some like significant like subplots cut from them,
Like yeah, yeah that And like I know there's like
large chunks of like all the Austin Howard's movies that

(01:40:25):
like you see the deleted scenes, you think, oh, yeah,
that's what was going on there. It's like that's why
there was huge chunks and huge like emotional beats of
the film which are completely missing, like they were just
like excised from from a fish pect Did you think
Tony McNamara wrote this, the Australian writer who also wrote

(01:40:49):
He's done a lot of Yogo's Lanthimus's films like Poor Things,
and like, did you think that this was the kind
of on the same level of that because I thought
that it was like That's why I thought that this one,
it was really kind of it was really kind of
missing the black comedy of that kind of stuff like

(01:41:10):
Poor Things and the Favorite and it's kind of like
really dark. That's what I think, like the dark kind
of stuff that we're thinking that this movie may may
have needed. Like I think that his like he would
have been great for that because that's what poor Things.
Poor Things is about a woman that has a baby's
brain put in there and then becomes like a sex

(01:41:33):
addict and stuff.

Speaker 1 (01:41:34):
I think the only character where his writing really comes
through is the Kate McKinnon character where Are You? You
kind of never know what she's going to say next.
Like even there's that scene where she says something about
she's just being diagnosed with like a serious health problem
and her husband says, honey, a yeast infections. It's not

(01:41:57):
like it's that's his kind of style of writing. But again,
I think the real problem with this movie is that
it's kind of a hard movie to make. Like I mean,
I have a close friend who refuses to go and
watch any movie where if a man hits a woman,
it doesn't matter whether it's like Black Widow or something

(01:42:19):
like that, where it's like, at some stage Scull Johansson's
gonna get hit by a thug.

Speaker 13 (01:42:24):
He won't go and see a movie like that.

Speaker 1 (01:42:26):
And he's a blokey bloke, like he's not some lefty
like the Wines about everything. He just has an issue
about watching women get hit by men. So I think
if you with a movie like this, if you knew that,
like Benedict come about slap Olivia Coleman or something like that,
you'd lose fifty percent of the audience. And also, likewise,

(01:42:50):
like with Who's Afraid of Virginia Wolf, the things that
they joke about in that film you could not joke
about in a film these days because we all know
that mental health is a serious issue, Like you don't
make jokes about someone killing themselves or something like that.
So I think this movie is kind of trapped in

(01:43:11):
that area where it needs those things, but neither Tony
macnamara rod j Roach could broach those subjects because it's
also I found it very weird too that they kind
of steered away from the sex life of the characters,
like it was it didn't really touch on did they

(01:43:32):
have a healthy sex life despite everything else that was
going on. It was like they kind of went away
from all the things that you kind of wanted to
know if this couple were. But there also feels like
there's times in this movie where it jumps and you're

(01:43:52):
kind of like, well, what happened in that time period?
Like the whole period of him building the house. It's like, okay, yeah,
we saw a movie about that, like about building a
house and using that to get over your mental demons.
It's like, well, did it work for him? Like or
did that just cause a bigger divide between him and her?
Like you kind of get an answer, but you don't

(01:44:14):
see it gradually happening.

Speaker 18 (01:44:16):
So like that's I did enjoy the movie, but but yeah,
like I said, I just I feel like the it
just kind of lost, as I said, just lost between
trying to be kind of this mainstream comedy that can't
really go into dark subject material and then also like

(01:44:38):
a really dramatic, serious film. Yeah, which yeah, it I
hate to say, it's a kind of film that probably
needed to be an a twenty four kind of movie
to go in the direction that we're thinking that it
needed to go in for the yeah, the audience that
that needed.

Speaker 1 (01:44:56):
I mean one of the things when you just said that,
one of the films I straight away thought of was
the film that came out. I don't even know if
it got.

Speaker 13 (01:45:03):
Released in Australia. I watched it as a Golden Globes film.

Speaker 1 (01:45:06):
And I can't remember if it got released here, but
it was Andrew Garfield and.

Speaker 13 (01:45:13):
The actress that now plays Black Widow.

Speaker 1 (01:45:16):
We Live in Time. Yeah, but touching on a dark
topic of finding out you're pregnant on the same day
that you find out that you've got terminal cancer. What
does that do to a relationship. The harrowing scenes that
were in that film between those two were memorable, Like

(01:45:37):
Andrew Garfield went to a whole new level as an
actor in my eyes, from that film. There's nothing like
that in this film, Like even the big blow up
at the end. I was laughing at times during it.
Whereas if this really wanted to be a film that
kind of looks at the implosion of a marriage, it probably.

Speaker 13 (01:46:00):
A few scenes like that.

Speaker 18 (01:46:01):
So that's the thing, Like I think it is trying
to be that comedy, like, it is trying to be
that lighthearted thing, but it's just it's not quite the
dark comedy it that it needed to be.

Speaker 1 (01:46:11):
Yeah, yeah, mind you, if it was a twenty four,
Olivia Coleman probably would have turned into a burden point a. Yeah,
but I guess what are you going to give this
one out of five?

Speaker 18 (01:46:21):
And why I'm still going to give it three and
a half out of five because I still had a
good time watching it, and like I said, it, the
whole satirical edge and the whole black comedy kind of thing.
It really it takes way too long for that to
pop up. But again, it's the same time Bennett come
Abat and Olivia Coleman make the movie worth watching all

(01:46:44):
the same.

Speaker 13 (01:46:45):
I was going to say that too.

Speaker 1 (01:46:46):
I'm giving it three out of five because I think
that Bennedic Comberbat and Olivia Coleman's performances make this a
much better film than what it would have been if
it didn't have actors of that caliber. So yeah, I'm
giving the Roses three out of five. Kyle's giving it
three and a half out of five. It is a
general release, so go and check your local cinema guide

(01:47:08):
and see if it's showing near you.

Speaker 6 (01:47:17):
There used to be U grain. In time alone on
the sea, you became the light on the dark side
of me. Light remained a drum that's higher, not the dell.

Speaker 32 (01:47:36):
But did you know that when next moment my eyes
become a log and the light that you shine can
be seen?

Speaker 7 (01:47:49):
I can make to kids Wi.

Speaker 6 (01:47:55):
The lot again on your stage out of me. Now
that shown roses and more I like hits the blue. Mama,
be there so much.

Speaker 33 (01:48:17):
I'm man can tell you so my large, and you
can say you mean, my problem, my pleasure, my bad
baby to.

Speaker 12 (01:48:30):
Me like I'm grown up?

Speaker 7 (01:48:32):
Did you go?

Speaker 6 (01:48:33):
I can shall line?

Speaker 2 (01:48:34):
Won't you tell me?

Speaker 6 (01:48:36):
Is I have say?

Speaker 7 (01:48:36):
Baby, my good?

Speaker 32 (01:48:38):
Did you know that when it snows, my eyes become
a large and the line that you shine can't be seen?

Speaker 7 (01:48:49):
Ben, and I.

Speaker 8 (01:48:51):
Can pay to a kid from a rose on the ground.

Speaker 6 (01:48:56):
All the more I get up, here's.

Speaker 8 (01:48:58):
The staying time.

Speaker 6 (01:49:02):
Now that joy roses in room a night hits the glue.

Speaker 15 (01:49:08):
On the bad.

Speaker 7 (01:49:24):
Bad kissed by your rose on the grid.

Speaker 34 (01:49:29):
I've been kissed by your rose on the ground, defassion,
kissed by your lot've.

Speaker 7 (01:49:41):
Been kissed by your rod. There's so much your man.

Speaker 12 (01:49:47):
Can tell you.

Speaker 6 (01:49:48):
Some U t I can say he remove my pipe,
on my passion.

Speaker 7 (01:49:54):
On my pain.

Speaker 6 (01:49:58):
To me or I'm gonna going up to and then
I get a lie? Won't you tell me?

Speaker 35 (01:50:03):
He is that healthy?

Speaker 32 (01:50:04):
Been in a even But did you know that when
it's missing to my eyes become a lie and the
light that you shot can be seen.

Speaker 7 (01:50:19):
Recommen, don't kid.

Speaker 15 (01:50:20):
Fin The road was on the green o the ll I.

Speaker 7 (01:50:24):
Get in here the same time now that John bros
is a light. Kids.

Speaker 14 (01:50:42):
He called me.

Speaker 35 (01:50:49):
And my name wants to Okay, what do you call me?
I do not know, for my name was a dies.

Speaker 6 (01:51:05):
On the first day I saw her, I knew she
was the one.

Speaker 13 (01:51:10):
She stood in my eyes and smiled.

Speaker 15 (01:51:15):
Her lips were the colors other rosa.

Speaker 1 (01:51:20):
That grew down the river, all bloody and wild.

Speaker 36 (01:51:24):
When he knocked on my door and then to the room,
my trembling subsided in his shoeing wings.

Speaker 35 (01:51:34):
He would be my first.

Speaker 36 (01:51:35):
Bad and with a careful hat he wiped up the
tears that ran down my face.

Speaker 35 (01:51:45):
He called me the world, but my name was a lie.

Speaker 7 (01:51:55):
He's a day.

Speaker 3 (01:51:57):
What he called me that I do.

Speaker 14 (01:52:04):
Who?

Speaker 35 (01:52:04):
My name was a nice?

Speaker 7 (01:52:06):
He's a da.

Speaker 12 (01:52:09):
On the second day I brought her a flower. She's
more beautiful than any woman I've seen.

Speaker 35 (01:52:18):
I said, you know, well, the wild roses grow so
sweet and scarlet and free. On the second day, came
with a single red room. He said, give me your
lots of sorrow. I nodded my head as I lay

(01:52:40):
on the bed.

Speaker 15 (01:52:42):
Be for showing you the.

Speaker 6 (01:52:43):
Roses where you're fund.

Speaker 23 (01:52:48):
He called me.

Speaker 7 (01:52:56):
My name was alive?

Speaker 3 (01:52:58):
Was a.

Speaker 14 (01:53:00):
What he call me?

Speaker 12 (01:53:01):
That's I do not know, for my name.

Speaker 7 (01:53:08):
Was a nice day.

Speaker 35 (01:53:12):
On the third day, took me to the river.

Speaker 36 (01:53:17):
He showed me the roses, and we kissed, and the
last thing I heard was a muttered words. He knelt
above me with a rock in his fast.

Speaker 35 (01:53:31):
On the last day, I took her where the wild
roses grows.

Speaker 15 (01:53:36):
She lay on the bank, the wind.

Speaker 35 (01:53:38):
Lied as a fet and I kissed a goodbye, said
all beauty must.

Speaker 18 (01:53:44):
Die, and I leant down and pladed a rose tweener tea.

Speaker 7 (01:53:51):
He called me the world.

Speaker 21 (01:53:58):
With my name, Thank you, Wenny.

Speaker 16 (01:54:17):
Zing me.

Speaker 6 (01:54:21):
It was a lie.

Speaker 1 (01:54:29):
Well, listeners, there is a very very interesting film going
into cinemas this weekend. It's called but Also John Clark,
and this is a great documentary for those of us
who grew up with the work of John Clark. This
film has been put together by his daughter, Lauren Clark,
and we've actually got Lauren on the phone today to
chat a little bit about this amazing film that I

(01:54:51):
know a lot of you out there are going to
be very very eager to go and see. So welcome
to the program, Lauren.

Speaker 14 (01:54:58):
Oh, thanks so much for having me.

Speaker 1 (01:54:59):
No, no worries now, Lauren, this is an amazing film.
I sat down to watch it, and of course I
grew up seeing your dad on television, and in the
younger days perhaps I didn't fully understand his comedy, but
in the later years I definitely did. And I know
my dad was a very big fan as well. So
tell us a little bit about where the idea came

(01:55:22):
about to actually put but also John Clarke together.

Speaker 23 (01:55:27):
Well, I don't think you're alone there, because since i've
been I've sat in a few screenings with people.

Speaker 14 (01:55:32):
I've realized a lot of.

Speaker 23 (01:55:34):
People watched this, watched John Clark before they really understood
John Clark, because they were sitting next to their parents
watching the Telly, you know, and then they sort of
they imvibed the spirit of the work and it became
part of their viewing habits as well. So it's a
beautiful thing to sit in a cinema with a bunch

(01:55:56):
of people who remember all of that together. But yeah,
for me, one of the things that I that I
wanted to do is actually to make sure that we
were talking about, you know, all the things people remember
him for and his interesting work and stuff, but also
that somebody who's never heard of him should be able
to rock up and find this an interesting story, because

(01:56:19):
I always thought that's life and his the decisions that
he made in the face of various things in his
in his life that actually made his work more interesting.
You know, Like there could be a film about him
that could just go through the highlights of his career
and it would be full of the funny stuff and

(01:56:40):
it would be it would be cool. But this I
knew that we had a bunch of home footage, and
we had a bunch of like family stuff that I'd
kept and collated and all.

Speaker 14 (01:56:57):
And I say I'd kept.

Speaker 23 (01:56:58):
He didn't throw out a single piece of paper in
his entire life, so he kind of left them with us.
But I'd been picking through them because I'd been doing
some little interviews with him into a microphone, So he
and I had talked about his life a little bit,
and so I knew I had all of those things,
And to me, it just seemed like the sort of,

(01:57:20):
you know, if it's ever going to be done, it
would be sort of more of a tribute to him,
to make it a more complex picture of a human
person in the world as well as the guy.

Speaker 14 (01:57:30):
You know of the Telly.

Speaker 1 (01:57:32):
So for you growing up, I know that's a very
very different perspective. But for you growing up, were you
aware of what your dad was doing in the comedy world,
because I think for most of us, we grew up
watching your dad do the was it Friday Nights on
a Current Affair? I think it was where they would
close the show with that. For you, were you aware

(01:57:53):
of what your dad was doing at that time when
you were younger as well?

Speaker 23 (01:57:58):
Yeah, and I reckon possibly it could have been a
bit weird to have like a normal dad and then
they then they.

Speaker 14 (01:58:07):
Get well known.

Speaker 23 (01:58:08):
But to us, he was always sort of partly shared
a little.

Speaker 14 (01:58:13):
Bit with his audience.

Speaker 23 (01:58:14):
We would know that people would recognize him, or he'd
be chatting to somebody in the supermarket and you wouldn't
necessarily think there's dad talking to a friend. You'd think
there's dad having a chat to someone. And we also
we did know about his work, and it was sort
of like both my parents are writers. My mum's an

(01:58:35):
academic writer, so she's an entirely different kettle of fish
in that regard, but the work of being a creative
person and kind of you know, being in like.

Speaker 3 (01:58:48):
Stuff like we used to.

Speaker 14 (01:58:49):
He'd come home sometimes and.

Speaker 23 (01:58:52):
You'd be like asleep and he'd come in and give
you a hard good night, and you'd think you'd smell
the makeup and you'd go, oh, he's on the tele tomorrow,
you know, because they have to polish your polish your
big bald spot if you're on the deli on the
if you're recording it on say Thursday night for Friday
or later. When he was on the ABC, it was

(01:59:14):
a Wednesday night for Thursday. But so there were just
things that I'm sure it was the you know, other
kids had their version of that's what my dad does
for work, but ours was. It kind of meant that
ours was around a lot because he didn't have the
set office hours, and he was also it was a
it was. He was obviously having fun, so it was

(01:59:36):
sort of part of who he was, and he was
part of his work in a way as well.

Speaker 1 (01:59:41):
So you mentioned before the intimate conversations when you sat
down and recorded those discussions with your dad. Was there
something that that sparked that I know for myself, my
interest in my family history got sparked a few years
ago when I found out some things about my grandmother.
But was there something that kind of that sparked that

(02:00:03):
moment of I need to tell my dad's story or
at least get it down on tape for now.

Speaker 23 (02:00:09):
Ah, that's a I'm glad you mentioned your family because
it is one of the things I think people I
don't know, you know, should do more of, or I'm
delighted to hear when they do, which is to sort
of look back just one generation and you think, oh,
I've heard this story a million times.

Speaker 14 (02:00:27):
You know it's boring. I don't need to write it
down or anything. But I think for me, what it
was is that I was doing at the time.

Speaker 23 (02:00:38):
It was twenty sixteen and I was doing I was
making podcasts. I did something called The Fitzroid Diaries, which
was a radio national podcast.

Speaker 14 (02:00:47):
Well it was a radio.

Speaker 23 (02:00:48):
National sort of radio place series, like a fictionalized series.
And I was doing another little podcast called The Stupidly
Small Podcast with a hilarious idiot friend of mine, and
so I had these microphone set up in this cupboard,
you know, in our room in our house. So when
Dad would come over and he if he was telling
a story, I mean, I always did get the feeling.

(02:01:10):
And I've got this a bit with my granddad as well,
so I'm not sure it was about who who Dad
was and that he was on the telly, but when
he told a story, I thought, nobody tells that story
better than you, you know, And I'm gonna forget that
cause I forget things. And he had a brilliant memory.
So I said, Jim, what what do you think when
you come over next time, I'll give you a cup

(02:01:32):
of tea and sit down and I'll ask you about
your life, because I said, I feel like you'll l
you'd probably like to have it there, like it's gonna
be a useful thing for the family to have. And
he said, oh, well, you know what's it for. We're
gonna turn it into something. And I said, look, at
this point, let's just do it as if it's like research.
So you just answer everything honestly and then we'll, you know,

(02:01:55):
if we need to make it more entertaining and take
out the arms and ours, we can turn it into something.
But to be honest, you know, there's this thing Joan
Didan calls after, you know, after somebody dies, this idea
of magical thinking, and you sort of look back and you.

Speaker 14 (02:02:12):
Go like, how did I know to do that? I
don't really know.

Speaker 23 (02:02:17):
I think like my mate Steve Farrell, who made the
podcast with me, he said to me once you should
sit your dad down and ask him questions. But I
don't know what made me actually physically do it, Because
whatever it was, I'm grateful to it because it's just
a it's a lovely thing to have.

Speaker 1 (02:02:38):
You did you find when you were doing it that
it was an easy thing to do or a difficult
thing to do? Because I remember just just the other day,
I was reading a piece that Jack Osborne had written
and they said he'd always wanted to sit down and
interview his dad, but he said he never knew what
questions to ask because he already knew his dad. So well,
did you did you find that as well? When you

(02:02:59):
sat down to do this that it was difficult or
did it wasn't quite an easy exercise for you because
you wanted to find out more.

Speaker 14 (02:03:09):
I'm a bit like Jack Os. I didn't realize I
was like Jacks. I'm a bit in the sense that
I felt like I knew everything.

Speaker 23 (02:03:16):
Like I knew I had asked that man, and so
had every we all talk in our family in circles forever.

Speaker 14 (02:03:23):
So there wasn't anything that I thought I don't know,
but I did.

Speaker 23 (02:03:28):
I sort of knew what interested me about his life,
and I just knew that he was good at telling
that sort of story.

Speaker 14 (02:03:36):
So but and I think sort of years of.

Speaker 23 (02:03:40):
Doing radio, like a bit of a background in radio,
I sort of knew what the points were that I
would regret not having, you know, on having.

Speaker 14 (02:03:53):
Hit record on. My regret is I didn't get to
more of them.

Speaker 23 (02:03:57):
But I did.

Speaker 14 (02:04:00):
Yeah, I got through.

Speaker 23 (02:04:04):
I got through sort of all the stuff that I
really was a bit fuzzy about first.

Speaker 14 (02:04:08):
So that that was I'm glad I did that.

Speaker 23 (02:04:10):
I sort of started with all the things that I'm
definitely like, you know, before I was born, when you
were at university, what was this moment, you know that
sort of stuff, thinking, oh, well, once I get to
the stuff that I was actually there for, I can
I can forget about like having to get the facts
right and we can just have a chat about it.

(02:04:31):
But yeah, so it was I didn't find it daunting.
I think with the clerks, as you will have discovered
over the last few minutes, it's getting them to shut up.

Speaker 1 (02:04:48):
We always asked this to documentary filmmakers that we have
on this show, what did you learn there was? Is
there something that stuck with you that you learned while
you were putting together the film?

Speaker 7 (02:04:59):
Ah, I.

Speaker 23 (02:05:03):
You know about his life sort of substantially, I didn't
learn much that was new I did, I did sort of.

Speaker 14 (02:05:14):
I think what I learned was.

Speaker 23 (02:05:18):
More about my own creative process, like this is the
first documentary feature I've made. And Dad and I used
to joke about the process of you know, when you
go and you try and get the money up to
make something or whatever, people always say, oh, but you
haven't directed a you know, horror film before, or you

(02:05:39):
haven't directed a forty eight minute film before, And we
used to extend that out and go, you haven't directed
this film before, you know, and that sort of panic
that can happen where I think, particularly in an industry
like the Australian film industry, which is sort of you know,
strapped for cash and like running on the smell of

(02:06:00):
an oily rag and barely existing, that there is only
so much money to go around, and so people really
want to not be sinking everything into you know, they
need to kind of make sure they're backing the right thing.
But just creatively, I thought, I thought, well, maybe you know,
maybe this is going to be different, Maybe this isn't
going to be like other forms of storytelling. And in

(02:06:24):
many ways, of course it's not like you know many
I've worked across, TV, film, theater, radio, that they're all different.
But I did just think, well, you know, if you've
been if you've been telling stories across for long enough,

(02:06:46):
that sort of those the muscles that you use.

Speaker 14 (02:06:49):
The sort of the problem solving that you.

Speaker 23 (02:06:53):
Do when you're trying to put a story together, you've
got that no matter which kind of genre or platform
or whatever it is you're using. Like that was actually
a really I know it sounds obvious, but you can
get gas lit a little bit in these systems into thinking,
oh well, I I I do this now, I'm like,

(02:07:14):
prinstance me, I've got a I've done a bit of
kids TV. And you know I've done the kids TV
because I did one and then I did the next one,
and then I did the next one. But in order
to kind of get out of that silo, you can
you can get you can kind of think, oh, maybe
I don't know what I'm doing. You know, everyone's telling
me I don't. So I think creatively, it was it

(02:07:37):
was learning the lesson that if you yeah, you've got
to surround yourself with, you know, brilliant people like that
editor Alec Morton, who uh I worked really closely with
on this whoy and we had Jill Bilkock was involved
and she Kenny and all of these people who'd done
all this stuff before, so that I had that, But

(02:08:00):
I think being able to recognize that if you've done that,
if you've done if if storytelling is your thing, it's
it's actually a skill that I think is undervalued and
you've just got to remember you just got to go
hang on, I've been here before. I'm home again, definitely.

Speaker 1 (02:08:21):
And you talk about brilliant people, how did you find
that experience of sitting down with people like Yan Evan, Shawn, Mikayliff,
Wendy Harmer and finding out their stories and talking to
them about your dad as well, because I think that
was one of the most powerful parts of the film
for me, was actually hearing all these other people that
we all respect talk about the respect that they had

(02:08:43):
for your dad as well.

Speaker 23 (02:08:46):
Yeah, that was brilliant, as you can imagine it was.
I mean, Dave, the stuff that's on the edit room
floor is a tragedy because you could we could have
made a ten part series and it wouldn't even have
had to have been about Dad. It was those people
are so interesting and you talk to them about creativity,
and you talk to them about politics, you talked to

(02:09:06):
them about the world, You're going to get some really.

Speaker 14 (02:09:09):
Interesting answers out of them.

Speaker 23 (02:09:12):
And you know, Ben Elton and David Wenham and Wendy
Harmon and Edmunds and just this sort of breadth of people.

Speaker 14 (02:09:20):
Some of them.

Speaker 23 (02:09:21):
I tried to speak to some people who people would
be surprised to see in a documentary about John Clark
as well. It was a huge privilege and I think
given at seven, oh, probably eight years now since we
lost him, but probably it was seven at the time.
There was a kind of a conversational let's remember that
guy together and also what he represented. That kind of

(02:09:47):
it was almost like a problem we were sort of
trying to solve together, is how do we like, how
do you memorialize one person. It's extremely it's multi layered
and nuanced and complicated.

Speaker 14 (02:09:59):
But what better to do that with? I mean, yeah,
very lucky, very lucky. Indeed.

Speaker 1 (02:10:03):
Yeah, Now for all of our listeners out there, but
also John Clark is in cinemas this weekend, and we
know a lot of you will want to go and
see it. So I guess to finish off, Lauren, what
would you like to say to people out there who
are thinking about heading along and seeing the film this weekend?

Speaker 23 (02:10:20):
Well, I have been delighted to sit in audiences and
see how much fun it is to sit in a
cinema and laugh and laugh and laugh. And it's not
just funny, it's got you know, all things, It's got
all the things we've talked about. You know, it's full

(02:10:41):
of ideas, and it's you know, there are moments of
sadness and so on. But being able to sit there
and watch just an intergenerational, you know, like I said before,
like people sitting there with.

Speaker 3 (02:10:52):
Their parents or whatever.

Speaker 14 (02:10:55):
Laughing.

Speaker 23 (02:10:56):
I don't know that I've sat in a cinema and
that I'm certainly not for a long time, and so
my main message is that it's just a really good time.
And I said, one of the ashes came up to
me after I've been to like three screenings. I think
one of the ashes came up to me after one

(02:11:17):
of them said you're the director and she was Danish
and twenty one and had.

Speaker 14 (02:11:23):
Never heard of him, and she's wiping tears from her eyes.
So it is just like, you know, there's we're not shy.

Speaker 23 (02:11:30):
About the fact that we want this film to be funny.

Speaker 14 (02:11:32):
So I think that's one of the main things that
I want.

Speaker 18 (02:11:35):
People to know.

Speaker 6 (02:12:00):
SoCal people.

Speaker 16 (02:12:02):
Unforreseamle sat.

Speaker 12 (02:12:28):
Such on the window.

Speaker 15 (02:12:33):
Makes me happy, Like sho.

Speaker 1 (02:12:43):
Really say, well, Hally, I know that you love classic cinema,
so there's a good chance that you've watched some of
the movies that John Abnett has directed over the years.
Some of the films that he's been involved with has
included Fried Green Tomatoes, Up Close and Personal. He was

(02:13:04):
also a producer on Risky Business as well, of course
the classic Tom Cruise movie, and of course he was
also the producer on the award winning Black Swan. Well,
he is back now with a brand new movie. Now,
this new film is called The Last Rodeo and it's
got a little bit of an interesting story behind it.

(02:13:27):
It stars Neil McDonough and he actually came up with
the premise of this film while he was driving home
one night. So during this week I actually caught up
with John Avnette. We talked a little bit about how
he became involved with this movie, The Last Rodeo, and
how it came into being in the first place. Now,

(02:13:49):
I've got to start off by saying congratulations on this film.
I had a chance to sit down and watch it,
and it's a beautiful film and an amazing film. So congratulations, Well,
thank you very much.

Speaker 3 (02:14:02):
I appreciate it.

Speaker 1 (02:14:03):
So, John, I was wondering when Neil first brought this
film to you, first brought this screenplay to you, what
were your first thoughts when you first started to read it.

Speaker 3 (02:14:16):
I thought it had promise.

Speaker 31 (02:14:19):
I liked that Neil, who was a person of faith,
was playing a character who had no faith, who had
lost his faith, and I felt that was very, very
helpful because I couldn't have done the film if it
was a story about a personal has faith who maintains
his faith.

Speaker 3 (02:14:34):
It would have been a hat on a hat in
a way, you know.

Speaker 31 (02:14:37):
So I thought that was smart and I thought there
was a lot of interesting elements there. And I also
felt like I could rewrite this script, and Neil said,
make it your own, and he meant it and I did.
And that's where the father daughter stuff came in. And
that's where the friendship stuff with Michael t with Charlie,
the character of Charlie came in. And you know, I

(02:15:01):
like character, I like getting into it. So the combination
of that with the action has always been something that
interested me because I felt you could root in a
more intense way if you were more and more involved
with the characters, if you will.

Speaker 1 (02:15:18):
I understand that the idea for the film first came
to Neil while he was driving and had the idea
of what would happen if he ever lost his wife.
You mentioned there as well about bringing personal aspects into it.
What was that like, kind of melding two personal stories
in there? A little bit, as you said, you put
a little bit of the father daughter story in there

(02:15:39):
as well. What was that like, melding the two stories?
And is that true about how Neil got the idea
in the first place.

Speaker 3 (02:15:47):
Yeah, as far as I know, it's very true. Neil
is He's very honest.

Speaker 31 (02:15:51):
What was great about that was that Neil's DNA was
on every frame of the film because of his sort
of ownership on a kind of author level, if you will.
So that was very helpful for me and he got
Neil and I've worked together many times. For me, in
terms of the stuff that I've written about, I've always
been interested in friendship. You know, I think it's sort

(02:16:14):
of underplay in film. You don't see it as much.
I mean it's there, and somebody has done very well,
but not as frequently as I would like it. So
that relationship between him and Charlie, you know, that meant
a lot to me. And Michael t is such a
wonderful actor, so I knew you could pull off that
scene in the diner really well. And also I add

(02:16:37):
both levity as well as a substance to that relationship.

Speaker 3 (02:16:43):
And then the father daughter stuff.

Speaker 31 (02:16:45):
You know, I've got two daughters and I got more
than a little experience with them, so you know, I
was very interested in trying to write that and I
felt pretty good about what I came up with. And
then working with Sarah Jones, who so I've worked with before.
She had an awful lot to the character and made

(02:17:05):
it her own. I put you to a splendid job.

Speaker 1 (02:17:09):
You mentioned a couple of times about working with some
of the people previously that were working on this film
as well. How important was that with this project? Of course,
you and Neil have worked together a number of times
and have got an amazing connection there. How important was
that to making this film work? That connection that you
had with the other people involved with the projects.

Speaker 3 (02:17:32):
I think it's very helpful.

Speaker 31 (02:17:33):
You know, you get a real shorthand you know, we
didn't spend time on the set talking about the script.

Speaker 3 (02:17:38):
All that was done before we got there and we
just came to work.

Speaker 31 (02:17:42):
So it makes things very economical, gives you a shorthand
allows you to do more takes if you need to.
We didn't really need to, and that was true with
Michael t and Wasara. You know, it was a very
The performance and character work was I think very very

(02:18:04):
efficiently shot and rendered, which allowed me more time if
I wanted to. I didn't really want to or need it,
but I had it because I always let the actors
do as many takes as they want, because you know,
it's not that hard to me.

Speaker 3 (02:18:21):
We didn't do a lot of takes.

Speaker 31 (02:18:22):
You know, it went pretty quickly and they were able
to take my directions when I gave them very well.
So it was a very very pleasurable experience in terms
of working with the actors.

Speaker 1 (02:18:35):
Now I have to ask, how much did you know
about bull riding before going into this film and what
kind of research did you have to do to incorporate
that into the story as well?

Speaker 31 (02:18:46):
Well, I knew nothing, So you know, over the years,
I think I've become a professional student, and hopefully a
decent one.

Speaker 3 (02:18:54):
So I went to all the professionals.

Speaker 31 (02:18:56):
I mean, the stuff that Neil and Derek had written
about the bull writing was accurate, so I had to
rewrite it, and then I have all the professionals tell
me what I did wrong until I had something that
they stopped criticizing too much. And you know, and it
was for me both as a writer and equally important
as a director to understand it because it's tricky to

(02:19:18):
shoot it. I've not seen many films where the bull
writing was shot well, and I really wanted to on
an ego level, if you will, to do something no
one had done.

Speaker 3 (02:19:29):
I think I may have done that.

Speaker 31 (02:19:30):
I think I got shots I've never seen and I
think the experience is very visceral. So that was a
combination of learning about it and then figuring out, well,
how do you shoot it?

Speaker 1 (02:19:40):
I was going to ask that because I spoke to
an Australian director here once and I said, our national
sport is Australian rules football, and we very rarely make
a movie about it, and he said, yep, that's because
it's an absolute hassle to try and film sport. What
kind of things did you want to bring into capturing

(02:20:00):
bull riding? And as you said, you've got a lot
of shots that we've never seen before. How do you
go away and prepare for something like that.

Speaker 3 (02:20:10):
Well, I've been doing the same thing for a long time.
You know.

Speaker 31 (02:20:13):
I like to script out how I want to shoot everything,
and then I can change it. But I don't want
to be lazy, and I want to figure out, you know,
what is the best way to shoot it?

Speaker 3 (02:20:24):
I mean, think of it. How many times have people
walked through doors and films? Yeah?

Speaker 1 (02:20:29):
Millions?

Speaker 3 (02:20:31):
Okay, millions?

Speaker 14 (02:20:32):
Right?

Speaker 31 (02:20:32):
And how many times have you seen someone walk through
a door and it's been memorable?

Speaker 3 (02:20:38):
Never?

Speaker 31 (02:20:40):
You know?

Speaker 3 (02:20:40):
I mean so well?

Speaker 31 (02:20:42):
In fact, it's what does walking through the door mean?
If the camera's following, if the camera's leading, it's down low,
if the door is really big and the person's small,
door is really small and the person's big. There are
a lot of design elements that create the meaning of
the shot and the shot meaning or what an audience
takes in, whether they're aware of it or not, and

(02:21:04):
hopefully in a visceral manner.

Speaker 3 (02:21:06):
So there were a couple of shots that were tricky.

Speaker 31 (02:21:08):
One was I'd never seen a good close up on
when someone's writing bull and it's very hard because the
bulls move so quickly, you know, how do you keep
the camera on? And even if you do, do you
capture it or do you simply see it for a second?
And so it took me a long time to figure
out how I wanted.

Speaker 3 (02:21:26):
To approach it.

Speaker 31 (02:21:27):
And the head of the professional bull Riding Sean Gleason,
he said he's never seen a good close up and
I went, Okay, that's my challenge, you know. So that
was something that I really worked hard to see if
I could get something. I thought I did pretty well
with it. And then there were one or two other
shots I thought were good. You know, the gold crows
on the ground when the bull lands on the camera.

(02:21:48):
I thought that really gave you a feeling of like
being in the arena, especially with the sound working, you know,
and the point of view shots on the writer.

Speaker 3 (02:21:56):
You know that you're on that bull. That's real.

Speaker 31 (02:22:00):
That's a guy riding the ball. That's nothing fake about that.
And I thought it really puts you in their shoes.
So those are some of the things that I felt
I did a pretty good job. I was pleased with
that talking about the editing. Tom Costantina, who edited, did
such a good job. And I also felt that the
sound work that I was able to do with Mike

(02:22:21):
Paracone my mixer, that came out really well and helped
create that experience of being on the balls.

Speaker 1 (02:22:29):
Wild definitely talking of that element of danger in that
wild and it's as well, how much did you have
to think about letting Neil on the ball? I mean,
even the most experienced writers have accidents. We saw here
in Australia last year one of the champions got killed
in the ring. What were your thoughts when Neil first

(02:22:52):
said that he wanted to be on the ball, because
I understand there was a dislocated shoulder there one day
as well.

Speaker 31 (02:22:58):
Well, Neil was never on it actual bull. It was
on the mechanical bull. I wouldn't let him get on
the bull. Yeah, you know. I have these fights all
the time with the leading actors who want to do
all the stunts.

Speaker 3 (02:23:09):
Forget it. You know.

Speaker 31 (02:23:11):
He did ride on the mechanical bull and it gets
going pretty good, and he did rack up his shoulder.

Speaker 3 (02:23:16):
By the way.

Speaker 31 (02:23:16):
He didn't tell me because I would have beat the
devil out of him because he shouldn't have gotten hurt.
You shouldn't have been doing it, you know. And it's
this constant battle because you got these really macho guys
who are often very good athletes, and Neil's as tough
as they come, you know, and you're always just saying, no,
you can't do that, No, you can't do that, but
he's John Blee, No, no, no, and then sometimes you

(02:23:37):
get a moment of weakness and you do it.

Speaker 3 (02:23:40):
But no, we had the.

Speaker 31 (02:23:40):
Professional bull riders, right, and some of them get hurt too.
You look at Brady Fielder, you know he's a great rider, right.
You know, it's it's a tough, tough sport and you
got to know what you're doing, and even if you
know what you're doing, you're going to get some bumps
and bruises along the way.

Speaker 1 (02:23:57):
I wanted to talk a little bit about that as well.
Of you mentioned about capturing the sport and capturing it
in a different way, but there's also a lot of
characterization in this film, and that's what makes this film
so special, especially with the faith element as well. I
was wondering if you could talk us through how you
developed some of those characters, and was that characterization there

(02:24:18):
in Neil's original screenplay or did that come in when
you started to play around with some of the characters.

Speaker 3 (02:24:24):
He had some of it there.

Speaker 31 (02:24:27):
He had a character who lost his faith. You know,
Neil's not per se a screenwriter. He's a storyteller and
he's got some great ideas. And part of his strength
as an actor and as a producer is Saint John
figure out how to make it your own. And I
was very interested in the faith element, but I wanted

(02:24:49):
it to be earned. I wanted to ultimately explore in detail,
you know, the nature of his mourning the loss of
his wife, because no one teaches you how to mourn.
There's no guide, there's no ten steps, and so it's
a very very unwieldy, difficult, emotional, bumpy process at best.

(02:25:14):
And at some point it can also get to be
very selfish and where you push away family and friends.
And I believe that's what happened with Neil's character, and
they were understandably angry at him, because you know, either
you're going to live or you're not going to live.
In many ways, there are no excuses for that. And religion,

(02:25:35):
you know, is a guide to life, you know. It's
a guide to how to behave you know, and there's
an ethical core to it. And faith is a belief
in something that you can't see, that's bigger than you,
you know, and also as a guide. So I wanted
him to, you know, have lost his faith and be
angry about it. And Neil just jumped on that idea,

(02:25:57):
I mean, and it was somewhat there in his original script,
but I think I teased it out more and he'd
loved that. And then so when he finally kisses the
cross and he sort of accepts faith except a belief
in God.

Speaker 3 (02:26:10):
Again, you know, it's a powerful moment, you know. And
the most powerful moment to me was.

Speaker 31 (02:26:16):
This selfish guy who was very very private, you know,
didn't want to go fund me even though he couldn't
pay for the surgery, walks into a bull ring for
the last ride and there's seventeen thousand people standing up
and cheering for him and giving him money for his
grandson's operation, and it's overwhelming. I thought that was a

(02:26:38):
very powerful moment, and it is a moment in many
ways of shared faith, if you will. So I thought
that was powerful, and I thought it was visceral definitely.

Speaker 1 (02:26:50):
Well, John, I know we are running out of time
very very quickly, and I could chat see you all day,
but I guess to finish off, do you have a
message out there that you would like to say to
people before they sit down to watch the film over
the next couple of weeks.

Speaker 31 (02:27:04):
He enjoy it, you know, it's it's going to take
you on a ride literally and figuratively, and go with
it and and enjoy the work of these really gifted
actors and all the people who worked on this film,
you know who did something. Hopefully it's a little bit
singular and something that I hope for many people they'll

(02:27:25):
walk out of wherever they screen it, whether it's a
theater or TV at home or whatever, to feel a
little differently about themselves and about life.

Speaker 15 (02:27:49):
Would stand.

Speaker 28 (02:27:53):
You know, Come, I'm seeking boot them up for a
whole dollary. Then your fly next to see your oh
nexty monthly next to me?

Speaker 37 (02:28:10):
Why you let me jump for the loving and lost
we should be using but once you break its book
at job for the sun and the ston batter.

Speaker 6 (02:28:21):
The phone bad as my phone, but even as wet
as warm, and when a child is warm into this
world and have no concept of the tauna skin is listing, And.

Speaker 30 (02:28:38):
It's not a shack gamm seven second guns away.

Speaker 12 (02:28:43):
It's just a little long as.

Speaker 30 (02:28:44):
I stay, I'll be wedding.

Speaker 28 (02:28:50):
It's not a second ad for seven seconds away. Or
just as long as.

Speaker 30 (02:28:57):
I stacky, I'll be weading. I'll be wading. I'll be weading.

Speaker 12 (02:29:17):
It's just humanly list.

Speaker 6 (02:29:20):
The changing.

Speaker 28 (02:29:23):
Germer gookie is a spot. But do something the last default.
If there's a spec juger let ven there's something.

Speaker 7 (02:29:35):
Letting loop and look belok.

Speaker 28 (02:29:38):
They say a phone delapa change.

Speaker 30 (02:29:42):
Seven seconds a way just says long miss day.

Speaker 8 (02:29:50):
I'll be wedding.

Speaker 12 (02:29:53):
It's not second seven seconds.

Speaker 30 (02:29:56):
Way just as long as us bad, I'll be wedding.
I don't be wedding, I'll be weddy.

Speaker 8 (02:30:44):
And when it child's fall.

Speaker 6 (02:30:47):
Into the squirld.

Speaker 37 (02:30:49):
It has no concept of the tuna skin is lifting
there an.

Speaker 12 (02:30:57):
Me boy says.

Speaker 21 (02:31:03):
Me boys.

Speaker 3 (02:31:14):
Away just as.

Speaker 7 (02:31:17):
Long as day.

Speaker 2 (02:31:20):
Welcome to subculture. This is Harley and I am reviewing Enzo,
directed by Robin Campillo. It's a great French language film,
very much a place in time, coming of age story.
It follows the character of Enzo played by Eloy Pohu,

(02:31:41):
and he's a sixteen year old. We meet him working
on a construction site, an apprentice bricklayer. He's not great
at his job and he doesn't seem focused and it's
annoying his boss, and his boss drags him home to
meet his parents to see, you know, does he really

(02:32:03):
want to do this? There are others he could be
training up, but you know, it seems a bit of
a shock that this boy comes from a well to
do home, and he could have a very easy life.
Why is he trying to do this bricklaying job? And
even the parents say he's smart, he could be good

(02:32:27):
at his studies, but he didn't apply himself. He has
an artistic talent. This whole bricklaying thing is very out
of the blue and unusual. Well, it seems Enzo was
still very insistent that he likes the work, he wants
to do this, and then surprisingly the next day he

(02:32:51):
works twice as hard. He goes back to the job
site and he's very enthused, and we see he's getting
close with his workmates, fitting in, and we first see him,
you know, kind of almost not getting along the previous

(02:33:12):
day with the character of Vlad played by Maxim Slavinsky,
and then this following day it's like he's trying more
to get along with him, almost as if he kind
of idolizes this man on the work site Ukrainian immigrant.

(02:33:34):
As we go through the film, we realize both Vlad
and Miroslav are constantly arguing about whether or not to
return to the Ukraine to do service and fight in
the war. It's a very awkward situation because Miroslav feels

(02:33:58):
like he should return. He has been a soldier and
feels like he should be defending his country, whereas Vlad
is not very happy back home, doesn't get along with
his family, and you know, it almost mirrors enzo situation
in some way, but in a very different way. But yes,

(02:34:21):
he doesn't want to go to war and you know,
end up having his life sacrificed over someone awful like Putin.
So there's a bit of a developing friendship and things
that start to come out.

Speaker 3 (02:34:39):
Here.

Speaker 2 (02:34:41):
We see Enzo try to fit in more and he
takes out of these guys when they're showing like photos
of girls they like or are dating, he starts to
act more like them, like trying hard to be like them.
He even picks up a friend from his own school,
Amina played by Malu Kiviti, and you know, it seems

(02:35:06):
like he gets.

Speaker 1 (02:35:07):
On really well with her.

Speaker 2 (02:35:10):
He's an attractive young man. Everyone seems to like him,
but you know, there are awkward situations and that sort
of doesn't work out, you know, as his mom comes home.
His mother played by Lad Bouchet, who I actually first
saw in a film I Used to Love, is one

(02:35:32):
of the films that introduced me to French cinema called
Lerezzo Savage or The Wild Reads, where she was actually
the kind of one of the teen coming of age
characters and now she's playing the mother. So I found
this a nice callback for myself.

Speaker 15 (02:35:51):
There's a lot of.

Speaker 2 (02:35:54):
Interesting dynamics in the relationships. Enzo also has a father
played by Pierre Francesco Favino, and a brother who is
kind of like the golden child of the family. He's
a couple of years older than Enzo, and he's doing
well in school, trying to get into a good college.

(02:36:17):
And yeah, it seems like the exact opposite situation.

Speaker 3 (02:36:22):
Not that.

Speaker 2 (02:36:24):
End was unpopular. Even his brother's friends like him. So
it's just the parents who kind of fret over Enzo
in this strange change of character and interest that's going on.
Especially for his father Paolo. There is a lot of

(02:36:45):
angst there, worrying for his son. He loves his son,
but he kind of doesn't know when to pull back,
and Enzo, being a sixteen year old, doesn't want to
be constantly watched over and you know, probed and asked
questions he doesn't want to answer. So as we go

(02:37:10):
through we realize, yeah, there's more to this story. Why
does he want to be on this work side and
what is his fascination with the lad And we realize
it's not just idolizing, He's really into this other guy.
So it's yeah, you start to understand why Enzo doesn't

(02:37:33):
want to open up about why he's making these changes
in his life and distressing his father in this way
because his father wants to push and know too much.
He wants to help his son, but he just too
pushy and his son just needs that privacy to discover

(02:37:55):
who he is, what his sexuality is, even though he's
sort of trying to fight it as well. It's really
good at, you know, the French excel at the character
dramas and the coming of age narratives. I've always found
that and this is no exception. The film is almost
like unwrapping a mystery. Why is Enzo insistent upon rebelling

(02:38:19):
and being an apprentice brick layer when he doesn't seem
motivated and is actually more artistically inclined, And we see
this more and more throughout the film. There's a lot
of resistance to being seen as artistic or gentle, wanting
to change the narrative of his identity, you know, be
more masculine. It's said he used to be a skinny

(02:38:41):
boy running around and lately he's changed. He's muscled up
a bit doing all this labor work, so he's probably
quite uncomfortable with the sexuality he's awakening to. But it's
also that which we kind of realize why he's on

(02:39:06):
the job site. It's kind of lad keeping hi there.
He doesn't really seem to like the work, but now
he's motivated because he doesn't want to be kicked off
the site because the thing he likes the most is there.
The concerned father feels despised at times, like he's really

(02:39:29):
going through the ringer, you know, despised by his own
son who really just wants to avoid difficult discussions or
you know, discovery of what's really going on inside him.
This film is really great at looking at things from
both perspectives. The team need for privacy to discover or

(02:39:50):
make their own way and deal with their own changes
and emotions in the safety of secrecy or privacy, and
then from the adult parent kind of point of view,
the desire to help the child they love, but not
knowing when to stop forcing help. The mother Marriyan is
a little better at stepping in being more gentle, whereas

(02:40:16):
the father just wants to help, and then he gets
a little too aggressively trying to help. It's like, what
do you want? We can send you to this school.
It's if that's more what you need, like if you
don't feel comfortable academically. This school is for people who
don't feel that way, and Enzer does not want his

(02:40:38):
life shaped by his father or his mother or anything.
It's interesting seeing the different points of view, both from
places of love. The father pushy, desperate to help his son,
whereas the mother will suddenly realize we need to step
back and just be gentle. So that's probably quite true

(02:41:03):
in a lot of these relationships and situations. The performances
in this film are perfect. I can't fault anyone in
this Everyone has their very distinct characters and ways of being,
and you don't feel like you're watching a movie. It
is kind of like when you're in these groups of people,

(02:41:26):
you get the dynamics. There's good relationships with everyone, even
though there are troubles, and everyone has their own personal
things with each other, sometimes good, sometimes bad. The way
we all have it's really well done. The script and
story just peak. As far as I'm concerned, this is,

(02:41:47):
like I said at the start, something they're French excel at.
It's quite interesting that I guess you could call it.
It's a fantastic kind of moment in time, a glimpse
into Enzo's life which ends just as suddenly as it begins,

(02:42:07):
with you asking questions and wanting to know more, just
like Enzo and just like his father. It creates the
feeling of what they're feeling, and it's really quite epitomized.
In the final scene, you think more's going to come,
but like that's it. It just ends there, and it's

(02:42:28):
like but it is the perfect ending spot, even though
you're the thinking what next? What next? That final scene
is kind of like helicopter parenting out of love and
concern versus Enzo's need for an intimate movement of privacy. Yeah,

(02:42:52):
it's really interesting. It's well done. This film has an
incredible talent for creating the mood and emotion that the
character is feel throughout. Nothing needs to be overstated. There's
a lot of action in silence or even the things
being said not being equivalent to what is actually being thought.

(02:43:15):
Like there's so much generated just by the way people
behave and you know, like ends or at the start,
he's clearly not really into the job, but he's insistent
on being there. So there are so many little things.
It's so well done that it creates the feeling that

(02:43:41):
I've said before. It's like that need for love to
be acknowledged, received and accepted.

Speaker 15 (02:43:46):
By the other.

Speaker 2 (02:43:48):
It's kind of what like the film is all about,
and it creates that perfectly. You get to see that
and you feel you're brought into it just by the
creation of the mood, like the questions, like you want
to know more so you can understand why the father

(02:44:09):
is there constantly wanting to push get answers. It's a
really well done film, Like I can't recommend it enough,
and I'm going to go all out and say five
stars for Enzo. If you like French cinema or you're
just like a good coming of age, moment in time
kind of story, this one's for you.

Speaker 15 (02:44:31):
Five stars, three stars.

Speaker 38 (02:44:58):
Straight the Top of My Dorm three three style, Welcome
you carry you with the free stylist.

Speaker 3 (02:45:15):
On the don't want you know what that.

Speaker 16 (02:45:18):
To break?

Speaker 7 (02:45:19):
Don't person, Oh.

Speaker 39 (02:45:22):
Automoto tends up on your break.

Speaker 8 (02:45:26):
So that's the thing.

Speaker 38 (02:45:27):
What the analyze up by wife possession And let's be
a leaden question.

Speaker 15 (02:45:32):
You carry production with your heart.

Speaker 39 (02:45:34):
Do want the telling beyond beyond bram on the.

Speaker 15 (02:45:39):
Tumble, but don't.

Speaker 17 (02:45:40):
That's the one up on black bone ram on.

Speaker 15 (02:45:44):
The tule, but don't.

Speaker 6 (02:45:46):
That's the nunc up on the.

Speaker 15 (02:45:48):
Bone frame on the tumble.

Speaker 23 (02:45:51):
Don't.

Speaker 39 (02:45:52):
That's the run happen come black on the ball, ram
on the tule, but don't.

Speaker 17 (02:45:57):
That's the up up on the phone.

Speaker 8 (02:46:15):
Chile pillows.

Speaker 39 (02:46:17):
We'll bring many killows that you come back, don't from
the very your dam mission demonstration is the billion the
mission celebrated by anything the pells fellas like again chiller
the parmelo.

Speaker 15 (02:46:31):
You don't they get hand to not like that big
youving your time? Tell Whease point the tumble, but don't.
That's the one.

Speaker 39 (02:46:42):
Come back come back phaise from the tun but don't.
Then crack back up on the pone whase point the.

Speaker 15 (02:46:52):
Tumble, but don't.

Speaker 39 (02:46:53):
That's the nack come back to the.

Speaker 15 (02:46:57):
Whaise from the tumble, but don't. That's about what up
on the ball.

Speaker 38 (02:47:28):
Three styles straight from the top of the Dome three
three styles, carry on with the free stylist, Way from

(02:47:50):
the Town and then the ball wait on the the one,
what the lock on the.

Speaker 3 (02:48:43):
M?

Speaker 1 (02:48:47):
And that's it for this episode of Subculture. Now, Harley,
we just played Freestyler by Bomb Funk M. And there
was a reason why I played that track because do
you remember a few weeks ago you and I were
talking about tracks and we started talking about that track
in particular.

Speaker 12 (02:49:04):
Do you remember that?

Speaker 3 (02:49:06):
Yeah?

Speaker 2 (02:49:06):
I remember you kept getting it stuck in your head thereafter.

Speaker 1 (02:49:10):
Yeah, Well, it was like that track kind of haunted
me for the week after that because the very next
day I was in a department store store and it
was playing over the loud speakers. And then the day
after that, I went through a drive through at a
restaurant and it was playing in the kitchen of the
drive through. And then, as if that wasn't enough, I

(02:49:33):
was listening to some music online and just had it
on shuffle mode and that track played itself again, and
it got me thinking, like, sometimes you have an earworm
kind of track and it gets into your head and
you keep like it in your head, But how many
times does it hasn't happen to you where you keep

(02:49:55):
on hearing the same song over and over and over
in like a week when you start thinking about.

Speaker 2 (02:50:00):
It, Well, I often like, I've had that a couple
of times. But what is more frequent with me is
that I'll all all of a sudden think of a
song out of nowhere, and it could be like the
oldest song, like something I kind of used to hear
when I was a child or something, and all of

(02:50:21):
a sudden, that song will just be in my head
and I'm like, why am I thinking about that? And
you know, I'll be walking down the street and frequently
I'll walk into a shop like the supermarket, and when
I step inside, that song is playing. It's like, how
did I know that song was going to be playing?
Like it happened all the time when I'd go into

(02:50:43):
the train stations in Melbourne, like I was leaving work
and a song would be in my head, and then
I'd go down the escalators or up the escalators or
wherever the hell I was going, and then big in
the train and suddenly I hear it on the platform.
That's song. I'm like, what, how? How was that playing?

(02:51:03):
Is that outside my head or inside?

Speaker 3 (02:51:07):
Well?

Speaker 1 (02:51:07):
Well, I mentioned to a friend what happened with this track,
and he said that he has something weird in his
life with a song as well, You're the Voice by
John Farnham. My friend has only had two car accidents
in his entire time of driving, both times not his va,
but both times he's had a car accident. You're the

(02:51:29):
Voice by John Farnham has been playing on the radio
when he's had the accident. So it kind of got
me thinking, I wonder how many of our listeners out
there have had tracks that have kind of haunted them
in the sense that like something weird like that has happened,
where you've thought of a track and that you've heard
it everything.

Speaker 2 (02:51:47):
Just jump ahead here, can if I'm ever hanging out
with you and that friend, can you please warn me
before we get in a car with him.

Speaker 1 (02:51:57):
Definitely, But yeah, we want you to reach out to
us and let us know if there been any tracks
in your life that has had that kind of thing
happen to it. Like I know another friend who told
me years and years ago that when she was traveling
around the world at one point, every time she arrived
at a new airport, she would hear the one track

(02:52:17):
and she thought it was just because at that time
that track was a popular track, like it was everywhere,
But she said she always realized when she was doing
this trip that it was always playing in airports wherever
she was. So, yeah, if you have anything like that
that's happened in your life, let us know, let us
know what the track was, and let us know how

(02:52:38):
that track kind of haunted you. But Hary, we better
get out of here. But before we do, how can
people reach out to us socially to let us know
their story?

Speaker 31 (02:52:48):
Yeah?

Speaker 2 (02:52:49):
Absolutely, guys, look for Subculture Entertainment on Facebook, Twitter, TikTok, discord.
You'll find us in all of those blue sky as well,
or you can reach out to Subculture Dave on Instagram
and threads.

Speaker 3 (02:53:09):
Yeah.

Speaker 2 (02:53:09):
Otherwise, of course, come to our website, subculture Entertainment dot com.
Find all the goody goods there and yeah, you'll be
able to find links and stuff from there to reach
out to us. Or if you're one of our patreons
and you're listening to this on Patreon, you can leave
a comment in there as well.

Speaker 1 (02:53:30):
Definitely. Now, Also, in a few weeks time, we're going
to do a very special episode. We're going to have
Sebastian Bark on the show as as our special guest.
But while we do that, we're going to do like
we did a couple of weeks ago with Sharik Curry.
We're actually going to do an episode where we're going
to take a look at iconic bands. So let us
know what kind of iconic bands do you want us

(02:53:50):
to feature on that show. Of course skid Row will
be on there with Sebastian Bark, but let us know
who's some of the iconic bands are out there that
you think we should feature on that show. And of course,
over the next couple of weeks as well, we will
catch up with the movies that the three of us
saw at Myth as well. But for now we better

(02:54:11):
get out of here. So I've been Dave g.

Speaker 2 (02:54:14):
And I've been Harley, and please remember to listen out
for that episode of iconic bands and then messages afterwards
to remind us of all the ones we forgot, because
we're still kicking ourselves about the iconic tracks we forgot
about the seventies and eighties. So join us next time.